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technique for organizing computer databases or documents to facilitate the nonsequential retrieval of information. Related pieces of information are connected by preestablished or user-created links that allow a user to follow associative trails across the database. The linked data may be in a text, graphic, audio, or video format, allowing for multimediamultimedia,
in personal computing, software and applications that combine text, high-quality sound, two- and three-dimensional graphics, animation, photo images, and full-motion video.
..... Click the link for more information.
 presentations; when more formats than text are linked together, the technique is often referred to as hypermedia. Hypertext applications offer a variety of tools for very rapid searches for specific information; they are particularly useful for working with voluminous amounts of text, as are found in an encyclopedia or a repair and maintenance manual. See also information storage and retrievalinformation storage and retrieval,
the systematic process of collecting and cataloging data so that they can be located and displayed on request. Computers and data processing techniques have made possible the high-speed, selective retrieval of large amounts of information for
..... Click the link for more information.
; World Wide WebWorld Wide Web
(WWW or W3), collection of globally distributed text and multimedia documents and files and other network services linked in such a way as to create an immense electronic library from which information can be retrieved quickly by intuitive searches.
..... Click the link for more information.


See G. P. Landow, ed., Hyper/Text/Theory (1994); J. A. Lennon, Hypermedia Systems and Applications: World Wide Web and Beyond (1997); D. Lowe and W. Hall, Hypermedia and the Web: An Engineering Approach (1999).


(computer science)
A data structure in which there are links between words, phrases, graphics, or other elements and associated information so that selection of a key object can activate a linkage and reveal the information.


computer software and hardware that allows users to create, store, and view text and move between related items easily and in a nonsequential way; a word or phrase can be selected to link users to another part of the same document or to a different document


A term coined by Ted Nelson around 1965 for a collection of documents (or "nodes") containing cross-references or "links" which, with the aid of an interactive browser program, allow the reader to move easily from one document to another.

The extension of hypertext to include other media - sound, graphics, and video - has been termed "hypermedia", but is usually just called "hypertext", especially since the advent of the World-Wide Web and HTML.


A linkage between related information. Hypertext is the foundation of the World Wide Web, enabling users to click or tap a link in order to switch to another part of the same Web page, another page on the same site or to a website anywhere in the world. Hypertext is the umbrella term for all links, whether appearing as text (word, phrase or sentence) or as an icon or other graphical element, the latter technically called a "hypergraphic." The terms "hypertext," "hyperlink" and "link" are all used synonymously. See hypermedia, live link and virtual hypertext.

The term was coined by Ted Nelson in 1963, but his vision was more expansive than the one-way links of today's Web. Nelson proposed two-way linking and support for non-hierarchical organization (for more information, visit www.xanadu.com).

The World Wide Web = Hypertext
The Web was developed in the early 1990s by Tim Berners-Lee and Robert Cailliau at the CERN European Laboratory for Particle Physics in Geneva, Switzerland. Whether the Web embodied hypertext as Nelson envisioned it or not, the linking of one item to another created the largest information explosion the world has ever witnessed.

References in periodicals archive ?
The contents of the prefaces are then categorized according to the themes or topics which emerge from the analysis of these metatexts.
The absence of translations may be compensated by various kinds of informational metatexts.
Its purpose is to establish the boundaries of the texts and metatexts written by Chilean canonical authors, starting with the romantic generation of 1852 (or 1842) and ending up with the works published in the last decade of the XX century.
The metatext still gains its life in the artist not in the metal/machine.
This suggests, in turn, that the metatext, the discourse of narratorial construction, constantly foregrounds its own constructedness in a manner that makes the authorial interference quite impossible to ignore.
Both of these bookworks, by Weston and Barbuzza, seem a close realization of Borges's magic tropes, as also with Meredith Lyon's altered text, or let's call it a supplemented metatext, The Aleph and Other Stories.
For instance, a Hewlett-Packard personal computer retailer might create metatext so that a person typing into a search engine the term "Apple Computer" might end up finding the Hewlett-Packard personal computer retailer.
In the editorial of a special edition of the journal scrutiny2, which deals almost exclusively with Disgrace, Leon de Kock (2002) observes that, "not since the aftermath of an earlier metatext by Coetzee, Foe, have we seen such multiples of invested, engaged and argumentative critical writing about a South African author".
In constructing a parable about the disconnect between the source of truth and the actual truth, inside a medium designed to transmit the truth, set within a metatext that questions the very foundations upon which truth is constructed, Kafka is not only playing with the construction of meaning; he is calling into question the construction of meaning as he attempts to construct it.
In spattering intertexts throughout the narrative of Feerie and employing deliberate structural and stylistic devices which create a metatext, it is, then, entirely feasible that Celine, like Greenaway, is carrying out a kind of rewriting of The Tempest (or at least a subjective response to it) which highlights this latter text's self-referential nature and its artifice.
Their photography thus implies a parallel perception of traditional femininity and of (its) ironically grotesque, feminist metatext.
Given the composite nature of the media with its complex editing structure--due to the specific mobile phone morphology-, and making the MMS more a metatext than a text, how can users appropriate this media form?