Abstract: The subject of the study is hypertext in literary fiction. The research aims to determine which object is most aligned with the classical definition of hypertext, established in domestic scientific discourse since the 1970s, which implies software for hyperlinks, computer presentation of the resulting system of text integration, interactivity, and user influence on the unfolding structure of hypertext. However, in literary studies, hypertext is interpreted broadly, sometimes as any nonlinear narrative or as a narrative with reading instructions, featuring an oversized scientific-referential apparatus. In our view, such usage of the concept is metaphorical and bears no research value. We systematically distinguish between metaphorical and literal uses of the concept of hypertext and point to a specific example of hypertext in 20th-century literary fiction: the web version of D.E. Galkovsky's novel "Infinite Dead End." In this work, we employed methods from the history of concepts, semantic analysis, media studies, receptive aesthetics, and empirical comparative analysis. The main contribution of this work to domestic scientific discourse is the assertion of the necessity for a strict application of the concept of hypertext in literary analysis. We demonstrated the evolution of the concept in domestic scientific discourse and summarized the work of colleagues in this area. We proposed a strict and expanded version of the definition of the concept and developed an established thesis in domestic science regarding the existence of the metaphor and mythologem of hypertext, alongside actual hypertext. The work also advances a methodological thesis on the necessity of cross-referencing a literary text defined as hypertext with a standard or model. We analyzed "Infinite Dead End" by D.E. Galkovsky from the perspective of its various media presentations and proposed the thesis that the web version of the novel is a benchmark of postmodern artistic hypertext.

Abstract: The subject of this study is the history of the concept of "authorial commentary" in Russian literary criticism of the 1920s and 30s. The moment of the appearance of its actual word form, as well as its equivalent, "auto-commentary", is recorded. The key research method is historical semantics, which provides a methodological framework for combining the semantic, pragmatic analysis of the concept of "author's commentary", as well as the epistemological analysis of the associated representation system. Auxiliary methods are the epistemology of the humanities, which makes it possible to establish the essence of the literary concept. In the course of this study, a sketch of the periodization of the history of the concept of "authorial commentary" was given. The thesis was put forward that the period from 1921 to 1935 is central to its existence in literary discourse, during which the tradition of its dual use was established. This tradition is relevant to this day. An epistemological characteristic of this period was given. It shows the predominance of the psychological understanding of commentary over its understanding as the form of literary study. It was found out that in the context of the formation of textology, this concept denoted the connection of an artistic work with the non-fiction texts of the author accompanying its appearance. The equivalence of the word forms "authorial commentary" and "auto-commentary" was demonstrated, and the thesis was put forward that author's commentary was defined by literary critics of the 20s and 30s as a type of auto-criticism, and the very doctrine of auto-criticism was part of the psychology of creativity. The last was predominant and influential concept of the time due to complex relations between psychoanalysis and psychological criticism, and young soviet literature studies.