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This book argues that narrative literature very often, if not always, include significant amounts of what appears to be extra-literary material – in form and in content – and that we too often ignore this dimension of literature. It offers an up to date overview and discussion of intermedial theory, and it facilitates a much-needed dialogue between the burgeoning field of intermedial studies on the one side and the already well-developed methods of literary analysis on the other. The book aims at working these two fields together into a productive working method. It makes evident, in a methodologically succinct way, the necessity of approaching literature with an intermedial terminology by way of a relatively simple but never the less productive three-step analytic method. In four in-depth case studies of Anglophone texts ranging from Nabokov, Chandler and Tobias Wolff to Jennifer Egan, it demonstrates that medialities matter.
The 'narrative turn' in the humanities, which expanded the study of narrative to various disciplines, has found a correlate in the 'medial turn' in narratology. Long restricted to language-based literary fiction, narratology has found new life in the recognition that storytelling can take place in a variety of media, and often combines signs belonging to different semiotic categories: visual, auditory, linguistic and perhaps even tactile. The essays gathered in this volume apply the newly gained awareness of the expressive power of media to particular texts, demonstrating the productivity of a medium-aware analysis. Through the examination of a wide variety of different media, ranging from widely studied, such as literature and film, to new, neglected, or non-standard ones, such as graphic novels, photography, television, musicals, computer games and advertising, they address some of the most fundamental questions raised by the medial turn in narratology: how can narrative meaning be created in media other than language; how do different types of signs collaborate with each other in so-called 'multi-modal works', and what new forms of narrativity are made possible by the emergence of digital media.
This handbook offers students and researchers compact orientation in their study of intermedial phenomena in Anglophone literary texts and cultures by introducing them to current academic debates, theoretical concepts and methodologies. By combining theory with text analysis and contextual anchoring, it introduces students and scholars alike to a vast field of research which encompasses concepts such as intermediality, multi- and plurimediality, intermedial reference, transmediality, ekphrasis, as well as related concepts such as visual culture, remediation, adaptation, and multimodality, which are all discussed in connection with literary examples. Hence each of the 30 contributions spans both a theoretical approach and concrete analysis of literary texts from different centuries and different Anglophone cultures.
This book argues that narrative literature very often, if not always, include significant amounts of what appears to be extra-literary material – in form and in content – and that we too often ignore this dimension of literature. It offers an up to date overview and discussion of intermedial theory, and it facilitates a much-needed dialogue between the burgeoning field of intermedial studies on the one side and the already well-developed methods of literary analysis on the other. The book aims at working these two fields together into a productive working method. It makes evident, in a methodologically succinct way, the necessity of approaching literature with an intermedial terminology by way of a relatively simple but never the less productive three-step analytic method. In four in-depth case studies of Anglophone texts ranging from Nabokov, Chandler and Tobias Wolff to Jennifer Egan, it demonstrates that medialities matter.
The essays in this volume are concerned with early printed narrative texts in Western Europe. The aim of this book is to consider to what extent the shift from hand-written to printed books left its mark on narrative literature in a number of vernacular languages. Did the advent of printing bring about changes in the corpus of narrative texts when compared with the corpus extant in manuscript copies? Did narrative texts that already existed in manuscript form undergo significant modifications when they began to be printed? How did this crucial media development affect the nature of these narratives? Which strategies did early printers develop to make their texts commercially attractive? Which social classes were the target audiences for their editions? Around half of the articles focus on developments in the history of early printed narrative texts, others discuss publication strategies. This book provides an impetus for cross-linguistic research. It invites scholars from various disciplines to get involved in an international conversation about fifteenth- and sixteenth-century narrative literature.
This volume is a pioneering study in the theory and history of the imitation of music in fiction and constitutes an important contribution to current intermediality research. Starting with a comparison of basic similarities and differences between literature and music, the study goes on to provide outlines of a general theory of intermediality and its fundamental forms, in which a more specialized theory of the musicalization of (narrative) literature based on contemporary narratology and a typology of the forms of musico-literary intermediality are embedded. It also addresses the question of how to recognize a musicalized fiction when reading one and why Sterne's Tristram Shandy, contrary to what has been previously said, is not to be regarded as a musicalized fiction. In its historical part, the study explores forms and functions of experiments with the musicalization of fiction in English literature. After a survey of the major preconditions for musicalization - the increasing appreciation of music in 18th and 19th-century aesthetics and its main causes - exemplary fictional texts from romanticism to postmodernism are analyzed. Authors interpreted are De Quincey, Joyce, Woolf, A. Huxley, Beckett, Burgess and Josipovici. Whilst the limitations of a transposition of music into fiction remain apparent, experiments in this field yield valuable insights into mainly a-mimetic and formalist aesthetic tendencies in the development of more recent fiction as a whole and also show to what extent traditional conceptions of music continue to influence the use of this medium in literature. The volume is of relevance for students and scholars of English, comparative and general literature as well as for readers who take an interest in intermediality or interart research.
Intermedial Studies provides a concise, hands-on introduction to the analysis of a broad array of texts from a variety of media – including literature, film, music, performance, news and videogames, addressing fiction and non-fiction, mass media and social media. The detailed introduction offers a short history of the field and outlines the main theoretical approaches to the field. Part I explains the approach, examining and exemplifying the dimensions that construct every media product. The following sections offer practical examples and case studies using many examples, which will be familiar to students, from Sherlock Holmes and football, to news, vlogs and videogames. This book is the only textbook taking both a theoretical and practical approach to intermedial studies. The book will be of use to students from a variety of disciplines looking at any form of adaptation, from comparative literature to film adaptations, fan fictions and spoken performances. The book equips students with the language and understanding to confidently and competently apply their own intermedial analysis to any text.
This essay collection examines the theory and history of graphic narrative as one of the most interesting and versatile forms of storytelling in contemporary media culture. Its contributions test the applicability of narratological concepts to graphic narrative, examine aspects of graphic narrative beyond the ‘single work’, consider the development of particular narrative strategies within individual genres, and trace the forms and functions of graphic narrative across cultures. Analyzing a wide range of texts, genres, and narrative strategies from both theoretical and historical perspectives, the international group of scholars gathered here offers state-of-the-art research on graphic narrative in the context of an increasingly postclassical and transmedial narratology. This is the revised second edition of From Comic Strips to Graphic Novels, which was originally published in the Narratologia series.
A third section on description in music provides a perspective on yet another medium.The volume, which is the second one in the series 'Studies in Intermediality?, is of relevance to students and scholars from various fields: intermedial studies, literary and film studies, history of art, and musicology.ContentsPreface IntroductionWerner WOLF: Description as a Transmedial Mode of Representation: General Features and Possibilities of Realization in Painting, Fiction and Music Description in Literature and Related (Partly) Verbal MediaAnsgar NUNNING: Towards a Typology,
This book is both a contribution to an interdisciplinary study of literature and other media and a pioneering application of cognitive and frame-theoretical approaches to these fields. In the temporal media a privileged place for the coding of cognitive frames are the beginnings while in spatial media physical borders take over many framing functions. This volume investigates forms and functions of such framing spaces from a transmedial perspective by juxtaposing and comparing the framing potential of individual media and works. After an introductory theoretical essay, which aims to clarify basic concepts, the volume presents eighteen contributions by scholars from various disciplines who deal with individual media. The first section is dedicated to framing in or through the visual arts and includes discussions of the illustrations of medieval manuscripts, the practice of framing pictures from the Middle Ages to Magritte and contemporary American art as well as framings in printmaking and architecture. The second part deals with literary texts and ranges from studies centred on framings in frame stories to essays focussing on the use of paratextual, textual and non-verbal media in the framings of classical, medieval and modern German and American narrative literature; moreover, it includes studies on defamiliarized framings, e.g. by Julio Cortázar and Jasper Fforde, as well as an essay on end-framing practices. Sections on framings in film (including the trailers of Tolkien's The Lord of the Rings) and in music (operatic overtures and Schumann's piano pieces) provide perspectives on further media. The volume is of relevance to students and scholars from various fields: intermedia studies, cognitive approaches to the media, literary and film studies, history of art, and musicology.