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Journal articles on the topic 'Intermediality'

Author: Grafiati

Published: 4 June 2021

Last updated: 25 July 2025

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1

Duggal, Vebhuti. "Intermediality." BioScope: South Asian Screen Studies 12, no. 1-2 (2021): 113–16. http://dx.doi.org/10.1177/09749276211026085.

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Johnson, Ian. "Introduction: Historicized Intermediality and Historical Variations on Intermediality." Forum for Modern Language Studies 57, no. 1 (2021): 40–59. http://dx.doi.org/10.1093/fmls/cqab002.

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3

Screech, Matthew, Bart Beaty, Kees Ribbens, and Christina Meyer. "Book Reviews." European Comic Art 5, no. 2 (2012): 114–24. http://dx.doi.org/10.3167/eca.2012.050207.

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Jean-Marie Apostolidès, Dans la Peau de Tintin [‘In Tintin’s Skin’]Alain Boillat, ed., Les Cases à l’écran: Bande dessinée et cinéma en dialogue [‘Panels on the Screen: Comics and Cinema in Dialogue’]Viviane Alary and Benoît Mitaine, eds., Lignes de front: bande dessinée et totalitarisme [Frontlines: Comics and Totalitarianism]Thomas Becker, ed., Comic: Intermedialität und Legitimität eines popkulturellen Mediums [‘Comics: Intermediality and Legitimacy of a Popular Medium’]

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Rajewsky, Irina O. "Intermediality, Intertextuality, and Remediation: A Literary Perspective on Intermediality." Intermédialités, no. 6 (August 10, 2011): 43–64. http://dx.doi.org/10.7202/1005505ar.

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The concept of intermediality has come to be part of a fixed critical inventory in the debate on literature and the other arts and media. Although there is relative agreement with respect to a definition of intermediality in a broad sense, the research spectrum becomes much more complex, and often contradictory, when precise formal distinctions and the specification and definition of any one particular concept of intermediality are needed. Based on the current state of the question, the present essay specifies one particular approach to intermediality, introducing three more narrowly conceived

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Melnikova, Irina. "Intermediality, Intermodality, and Semiotics." Colloquia 42 (June 1, 2019): 84–112. http://dx.doi.org/10.51554/col.2019.28656.

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The article discusses the Scandinavian approach to intermediality, namely, the ideas of Lars Elleström who defines intermediality as intermodal relationship. The discussion covers a range of questions: approach’s distinction from another model of intermediality (presented by Werner Wolf and Irina O. Rajewsky), its basis, i.e., the semiotic ideas of Charles S. Peirce that are of special importance for intermedial studies, the definition of medium it proposes, and finally, its analytical potential. Elleström focuses on the issue of specification of medium and makes modality the core notion of th

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6

Cesarino Costa, Flávia, and John Gibbs. "Chanchadas and intermediality." Alphaville: Journal of Film and Screen Media, no. 19 (July 23, 2020): 28–30. http://dx.doi.org/10.33178/alpha.19.03.

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This audiovisual essay investigates the intermedial nature of Brazilian film comedies produced during the 1940s and 50s by exploring the musical numbers of Aviso aos navegantes (Calling All Sailors, Watson Macedo, 1950). Brazilian cinema of this period is a privileged arena of different media strategies. Its “mixed” style is informed by Hollywood cinema but also by the domestic influence of radio, Carnival, and by the local forms of comic staging of the teatro de revista (the Brazilian equivalent of music hall or vaudeville). Of particular interest in this regard are the chanchadas, a body of

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7

Laws, Catherine. "Beckett, Music, Intermediality." Samuel Beckett Today / Aujourd’hui 32, no. 1 (2020): 116–28. http://dx.doi.org/10.1163/18757405-03201009.

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Abstract The topic of ‘Beckett and music’ has gained considerable attention in recent years. In previous work I have argued that music in Beckett’s plays does not, as some have suggested, exist beyond or exceed the ambiguities of body, knowledge and subjectivity that are apparent in other aspects of his work, but rather that its use parallels and reinforces these processes. If this kind of intermediality, involving music, operates already in some of Beckett’s work, how does it manifest when musicians work with or in relation to it? This question is addressed through a discussion of John Tilbur

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8

Segal, E. "Intermediality and Storytelling." Poetics Today 33, no. 3-4 (2012): 485–88. http://dx.doi.org/10.1215/03335372-1812162.

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9

Mueller, Juergen E. "Intermediality, Quo Vadis?" International Journal of Semiotics and Visual Rhetoric 3, no. 2 (2019): 24–39. http://dx.doi.org/10.4018/ijsvr.2019070102.

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Some 30 years after its coining, the notion and concept of intermediality still proves to be of great relevance for many disciplines, ranging from semiotics to communication, media, literary, and social studies. However, in the digital era, intermediality as a work in progress has to meet the challenges of the so-called new media and develop innovative and adequate axes of research. This article presents some basics of the latest state of affairs of intermedia studies and proposes six central axes of future intermedia research. It focuses on the perspectives of an intermedia network history, w

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10

BENNETT, JILL. "AESTHETICS OF INTERMEDIALITY." Art History 30, no. 3 (2007): 432–50. http://dx.doi.org/10.1111/j.1467-8365.2007.00554.x.

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11

Sánchez-Mesa, Domingo, and Jan Baetens. "Intermediality and Comics." European Comic Art 16, no. 2 (2023): 30–53. http://dx.doi.org/10.3167/eca.2023.160202.

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Abstract This article deals with the relationship between comics and intermediality (the interaction or relation between two media) as well as transmediality (the migration from one medium to another). It defends the idea that inter- and transmediality are inextricably linked and that the interaction between them can shed new light on either dimension, in order to broaden the idea of intermediality (which cannot be reduced to a matter of taxonomy but entails important historical aspects) and that of transmediality (which should include discussions on power relationships between media). The art

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12

Kunde, Karo, and M. Fernanda Piderit. "Editors' notes: From Intermediality for Intermediality: a Didactic of Languages." Bellaterra Journal of Teaching & Learning Language & Literature 14, no. 1 (2021): 938. http://dx.doi.org/10.5565/rev/jtl3.938.

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Лупак Н. М. "КУЛЬТУРНОСЕМІОТИЧНИЙ, МЕДІАТЕХНОЛОГІЧНИЙ, КОМУНІКАТИВНИЙ ПІДХОДИ У ДОСЛІДЖЕННІ ПОНЯТТЯ «ІНТЕРМЕДІАЛЬНІСТЬ»". Science Review, № 6(23) (31 липня 2019): 21–27. http://dx.doi.org/10.31435/rsglobal_sr/31072019/6612.

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Intermediality has been described as phenomenon of interartistic interaction and actual scientific approach of interdisciplinary studies. Different approaches of Ukrainian and foreign researchers for defining this concept have been analyzed. It has been generalized that intermediality is interpreted as interaction of semiotic codes of different arts in the multimedia space of culture. It has been emphasized that the basis of intermediality is inter- semiotic interaction, comparative analysis of texts (digital non-digital), system of communicative competence and personal aesthetic experience. T

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Pethő, Ágnes. "Current Issues of Intermedial Scholarship Discussed with Editors of Book Series and Journals Specializing on Intermediality." Acta Universitatis Sapientiae Film and Media Studies 26 (November 29, 2024): 1–46. https://doi.org/10.47745/ausfm-2024-0009.

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The conference entitled Affective Intermediality, organized between 20–21 October 2023 at the Sapientia Hungarian University of Transylvania in Cluj-Napoca, included a hybrid (i.e. online and in person) round table presentation of book series and peer reviewed journals specializing or frequently publishing on intermediality (as the 2nd Meeting of Researchers in Intermediality initiated by Ana Munari). As a followup to this round table, a more detailed discussion was initiated with editors (who are also researchers themselves) about the state of the art in intermediality studies, the main chall

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Sluijs, Jasper, and Anneke Smelik. "Interactivity and Affect in Intermedial Art: Theorizing Introverted and Extraverted Intermediality." Hors dossier, no. 13 (June 29, 2010): 177–96. http://dx.doi.org/10.7202/044046ar.

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The article takes two case studies of intermedial computer art, a monumental piece of interactive sound architecture, Son-O-House (2004), and an animated “open movie”, Elephants Dream (2006) as the starting point for an analysis of intermediality. The authors identify two directions in intermedial works of art: “introverted” and “extraverted”. Taking their cues from Deleuze’s notion of difference and combining them with the ideas of Dutch artist Dick Raaijmakers on the aesthetics of intermedial art, the authors claim that introverted intermediality is directed inwards, drawing self-reflexive a

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16

Chaiun, Iryna. "TYPOLOGIES OF INTERMEDIALITY IN MODERN LINGUISTICS: PROBLEMS AND PROSPECTS." PROBLEMS OF SEMANTICS, PRAGMATICS AND COGNITIVE LINGUISTICS, no. 47 (2025): 187–94. https://doi.org/10.17721/2663-6530.2025.47.17.

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The article explores the main approaches to the typology of intermediality as a phenomenon of contemporary culture, art, and linguistics. Intermediality, understood as the interaction and intersection of different semiotic systems has become an essential aspect of modern communication and textual analysis. The study highlights the challenges in classifying intermedial phenomena, including the fluidity of media boundaries, the complexity of constructing universal theoretical models, and the dynamic nature of interpretation across various disciplines. Special attention is given to the methodolog

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17

Besson, R., and C. Bem. "Intermediality: Axis of Relevance." SubStance 44, no. 3 (2015): 139–54. http://dx.doi.org/10.3368/ss.44.3.139.

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Besson, Rémy. "Intermediality: Axis of Relevance." SubStance 44, no. 3 (2015): 139–54. http://dx.doi.org/10.1353/sub.2015.0029.

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19

Koo, Bome. "Intermediality of Contemporary Dance." Journal of Dance Society for Documentation & History 62 (September 30, 2021): 3–28. http://dx.doi.org/10.26861/sddh.2021.62.3.

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20

Chatzichristodoulou, Maria. "Mapping Intermediality in Performance." Contemporary Theatre Review 21, no. 2 (2011): 230–31. http://dx.doi.org/10.1080/10486801.2011.562056.

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21

Helles, Rasmus. "Mobile communication and intermediality." Mobile Media & Communication 1, no. 1 (2013): 14–19. http://dx.doi.org/10.1177/2050157912459496.

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The article argues the importance of intermediality as a concept for research in mobile communication and media. The constant availability of several, partially overlapping channels for communication (texting, calls, email, Facebook, etc.) requires that we adopt an integrated view of the various communicative affordances of mobile devices in order to understand how people choose between them for different purposes. It is argued that mobile communication makes intermediality especially central, as the choice of medium is detached from the location of stationary media and begins to follow the us

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22

Palmer, Morgan E. "Inscriptional Intermediality in Livy." Trends in Classics 11, no. 1 (2019): 74–95. http://dx.doi.org/10.1515/tc-2019-0005.

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Abstract The term monumentum is used in Latin literature to describe a range of monuments across media, including temples, literary works, statues, and inscriptions. This article surveys the variety of monumenta in Livy’s Ab urbe condita, which range from the text itself to victory inscriptions and bronze sculptures meant to commemorate military as well as political achievements. The borders between historiography and physical artefacts are often blurred by Livy through inscriptional intermediality, a phenomenon defined as the mixing of visual and textual media. By outlining how Livy achieves

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23

Dinter, Martin T. "Intermediality in the Metamorphoses." Trends in Classics 11, no. 1 (2019): 96–118. http://dx.doi.org/10.1515/tc-2019-0006.

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Abstract This article provides an intermedial re-reading of Ovid’s Metamorphoses, treating a wide range of passages from Echo and Narcissus in Book 2 to the final sphragis which rounds off Book 15. As its title indicates, the Metamorphoses is at heart a poem about transformations. It is therefore imbued with a sense of dynamism and volatility, which in turn renders it a fertile source of represented intermedial transposition. This chapter explores three processes relating to this wider concept: ‘creation’, where a medial product is woven, painted, or sculpted, ‘human-to-media transformations’,

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24

Tuomi, Pauliina. "Intermediality and Media Change." Historical Journal of Film, Radio and Television 33, no. 4 (2013): 646–48. http://dx.doi.org/10.1080/01439685.2013.853372.

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25

Sava, Laura. "The Problem of Film Theatre Intermediality in Jesus of Montreal." Excursions Journal 1, no. 1 (2019): 102–22. http://dx.doi.org/10.20919/exs.1.2010.130.

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My paper resorts to the recently theorized notion of intermediality in order to examine the representation of theatre in Jesus of Montreal (Denys Arcand, 1989) Far from being a stopgap term called into being by the ever more numerous instances of border violation between media, intermediality comes with a prestigious pedigree. It is a member of the ‘inter’ family (alongside terms such as intertextuality and interdisciplinarity) and a descendant of a comparative approach which extends far back in time, encompassing genres such as the apology and the paragone. Despite the fact that in film studi

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26

Titarenko, S. D. "FUNCTIONS OF THE VISUAL IMAGES IN OF CHRIST AND ANTICHRIST TRILOGY BY D.S. MEREZHKOVSKY." Culture and Text, no. 43 (2020): 126–43. http://dx.doi.org/10.37386/2305-4077-2020-4-126-143.

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The article is devoted to the functions of intermediality in the symbolist novels by D. S. Merezhkovsky (Christ and the Antichrist trilogy). Intermediality is considered as a constructive and structural basis of the novels and the principle of poetics.Visual images of art reflect the writer’s theurgical aesthetics and his conceptual religious-philosophical ideas. They are the basis of the mysteriological-mythological plot and perform functions of the symbolic “crossing” of various religions and cultures borders. The article concludes that intermediality in the structure of the symbolist novel

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Bates, Julie. "Intermediality and the Future Anterior." Samuel Beckett Today / Aujourd’hui 32, no. 1 (2020): 129–43. http://dx.doi.org/10.1163/18757405-03201010.

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Abstract This essay traces the ways in which the intermedial practices of the artist Brian O’Doherty and writer Brian Dillon cast into relief Samuel Beckett’s own intermediality, marking it as a still-relevant set of propositions for dissolving boundaries between media and posing questions about time. I propose that intermediality functions for O’Doherty as an optimistic means of opening up potential new forms and futures, but for Beckett and Dillon alike designates a negative aesthetic and political dynamic, anticipating failure even in the moment of experimentation. This time-annulling inter

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Oosterling, Henk. "Sens(a)ble Intermediality and Interesse." Naissance d’un concept, no. 1 (August 9, 2011): 29–46. http://dx.doi.org/10.7202/1005443ar.

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In this article the specific quality of the “in-between” or “inter” within the notion of intermediality is explored. First the Gesamtkunstwerk and Foucault's “esthetics of existence” are analyzed in terms of intermediality. By tracing the historical roots of this notion the perspective for its actuality is widened. Next, a positioning of the “inter” in a mainly German discussion on intermediality is elaborated, criticizing hermeneutics and dialectics. Subsequently this discussion is related to a philosophical debate on the sublime and on mediation by French philosophers of difference as Derrid

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Mintsa, Stévin Yvan Obianga. "La reconstruction mémorielle au prisme de l’intermédialité : Cas de La Mystérieuse Flamme de la reine Loana d’Umberto Eco." Intercâmbio: Revue d’Études Françaises=French Studies Journal, no. 16 (2024): 7–25. http://dx.doi.org/10.21747/0873-366x/int16a1.

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This article explores how Umberto Eco approaches the reconstruction of memory in his novel The Mysterious Flame of Queen Loanausing the concept of intermediality. Intermediality refers to the interaction between different media such as literature, images, music, etc. We aim to demonstrate how Eco integrates these diverse media to represent and reconstruct the memories of the protagonist. It highlights how the use of a variety of media influences how memories are expressed, interpreted, and understood in the context of the narrative of the protagonist’s lost identity. By analyzing the novel fro

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Catalá, Jorge, Benoît Mitaine, Lisa Maya Quaianni Manuzzato, and José Manuel Trabado Cabado. "Introduction." European Comic Art 16, no. 2 (2023): 1–29. http://dx.doi.org/10.3167/eca.2023.160201.

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Abstract The introductory article to this special issue on intermediality and comics focuses on exploring the richness of graphic narrative beyond the conventional understanding of comics as a multimodal medium that often combines text and images. Primarily using diverse examples of Spanish comics as its focus, this essay investigates intermedial relations between comics and music, adaptation and animation, as well as the extension of comics beyond physical and digital spaces. Drawing on existing research on intermediality more broadly and specific scholarly literature that examines comics as

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31

Westgeest, Helen. "Intermedialities as Sociopolitical Assemblages in Contemporary Art." Arts 12, no. 4 (2023): 170. http://dx.doi.org/10.3390/arts12040170.

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This article is an introductory essay to the Special Issue “A Comparative Study of Media in Contemporary Visual Art”. It starts with a short overview of the terminological discussion about intermediality as a concept and its relationship with medialities with other prefixes—such as mixed, intra-, multi-, and transmedialities. So far, intermediality has been discussed less by art historians than by literary scholars. This introductory essay argues that critical analysis of intermediality in contemporary artworks may offer additional insights for investigation of the issues addressed in these ar

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Sinelnikova, L. N. "RHIZOME AND DISCOURSE OF INTERMEDIALITY." Russian Journal of Linguistics 21, no. 4 (2017): 805–21. http://dx.doi.org/10.22363/2312-9182-2017-21-4-805-821.

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33

Gumbrecht, Hans Ulrich. "Why Intermediality — if at all?" Hors-dossier, no. 2 (August 9, 2011): 173–78. http://dx.doi.org/10.7202/1005464ar.

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As much as the concept of intertextuality has known a great success within social sciences because it represented the closure of a conception of the world understood as readable, in the same way, intermediality will have a true reach only if it permits us to liberate ourselves from this model and open a new array of problematics. Through this rapid reconstruction of conceptual paradigms, what is at stake is the possibility of rethinking medias outside of the procedures of hermeneutics and the sole universe of significance.

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34

Khaminova, A. A. "Intermediality: from metaphor to technology." Gumanitarnaya informatika, no. 9 (June 1, 2015): 80–87. http://dx.doi.org/10.17223/23046082/9/6.

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35

Epner, Luule, and Piret Viires. "On the intermediality of literature." Philologia Estonica Tallinnensis 2 (December 19, 2017): 5–10. http://dx.doi.org/10.22601/pet.2017.02.01.

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36

Budd, Natasha. "Intermediality and the child performer." Research in Drama Education: The Journal of Applied Theatre and Performance 21, no. 3 (2016): 309–18. http://dx.doi.org/10.1080/13569783.2016.1195120.

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Trimingham, Melissa, and Nicola Shaughnessy. "Material voices: intermediality and autism." Research in Drama Education: The Journal of Applied Theatre and Performance 21, no. 3 (2016): 293–308. http://dx.doi.org/10.1080/13569783.2016.1195121.

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Forceville, Charles J. "Media Borders, Multimodality and Intermediality." Journal of Pragmatics 43, no. 12 (2011): 3091–94. http://dx.doi.org/10.1016/j.pragma.2011.04.015.

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Brook, Clodagh, Florian Mussgnug, and Giuliana Pieri. "Open Works: Italy’s Creative Intermediality." Italian Studies 74, no. 4 (2019): 329–30. http://dx.doi.org/10.1080/00751634.2019.1658917.

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Bucknall-Hołyńska, Justyna. "Intermediality in Miranda Hart’s Performance." Rocznik Komparatystyczny 7 (2016): 57–72. http://dx.doi.org/10.18276/rk.2016.7-04.

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Rowden, Clair. "Thaïs: Adaptation, Degeneration, and Intermediality." Dix-Neuf 18, no. 2 (2014): 134–49. http://dx.doi.org/10.1179/1478731814z.00000000049.

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Malanii, O. O. "INTERMEDIALITY OF YURIY KOSACH’S POETRY." Тrаnscarpathian Philological Studies 2, no. 40 (2025): 199–207. https://doi.org/10.32782/tps2663-4880/2025.40.2.33.

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Lee, Meebae. "Robert Schumann and Issues of Intermediality: Toward an Application of Intermediality Discourses to Musicology." Journal of Music and Theory 37 (December 15, 2021): 65–100. http://dx.doi.org/10.36364/jmt.37.3.

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Kurmanbayeva, Zarina, and Zulfiya Kassimova. "Intermediality Problems in the Context of Study of Pop Vocal Performance." Central Asian Journal of Art Studies 6, no. 4 (2021): 91–103. http://dx.doi.org/10.47940/cajas.v6i4.457.

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The article is concerned with the study of modern pop culture, which incorporates elements of various types of arts and characterized by wide versatility. On this point, for the first time ever bring forth the problem of integrating the concept of "intermediality" with the study of the performing arts of a popular mass trend. When considering the meaning of the concept of "intermediality" was revealed the versatility of its interpretation from the standpoint of studying the aspects of synthesization in literature, in painting, philosophy, philology, etc. At the same time, it is noted that in t

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Pethő, Ágnes. "Approaches to Studying Intermediality in Contemporary Cinema." Acta Universitatis Sapientiae, Film and Media Studies 15, no. 1 (2018): 165–87. http://dx.doi.org/10.1515/ausfm-2018-0009.

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Abstract The article attempts a brief overview and evaluation of the main theoretical approaches that have emerged in the study of cinematic intermediality in the last decades since intermediality has become an established research term in media studies. It distinguishes three major paradigms in theorizing intermedia phenomena and outlines some of the directions of change in the intermedial strategies of recent films. It identifies in contemporary cinema a tendency to add new dimensions to the relations of in-betweenness regarding both the connection of cinema to reality and its inter-art enta

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Caruso, Celestine, and Judith Hofmann. "Intermediality, Narrative Texts, and Digitally Mediated Tasks in the EFL Classroom." Letras & Letras 37, no. 1 (2021): 75–91. http://dx.doi.org/10.14393/ll63-v37n1-2021-05.

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In our paper, we propose that intermediality and participatory culture are intertwined concepts that are both part of the digital world. By using Task-Based Language Teaching (TBLT) as a pedagogical framework, we argue that digitally mediated tasks can be beneficial for the EFL classroom while at the same time including aspects of intermediality and participatory culture. In the last part of the paper, we present task examples that tackle this issue and were tested in the EFL classroom.

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Wojno-Owczarska, Ewa. "APPROACHES TO INTERMEDIALITY STUDIES IN THE NEW MILLENNIUM." Acta Philologica, no. 60 (2023) (September 30, 2023): 5–20. http://dx.doi.org/10.7311/acta.60.2023.1.

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von Ammon, Frieder. "nr="68"Konkurrenten in musicis. : Thomas Mann, Arthur Schnitzler und Robert Musil im Wettstreit um die ,,heilige Kunst“." Zeitschrift für Germanistik 31, no. 2 (2021): 68–82. http://dx.doi.org/10.3726/92169_68.

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Abstract Der Beitrag geht der Frage nach, wie die Intensität der musikliterarischen Intermedialität in der deutschsprachigen Erzählliteratur der Moderne erklärt werden kann. Eine zentrale Rolle spielen dabei die Musikbezüge und insbesondere die Musikbeschreibungen in den Texten Thomas Manns, mit denen sich andere Autoren in der Folge auseinanderzusetzen hatten. Dabei ist eine produktive Konkurrenzsituation entstanden, die im Beitrag anhand von Texten Manns, Schnitzlers und Musils untersucht wird.The present contribution asks how the intensity of musico-literary intermediality in narrative text

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49

Boenisch, Peter M. "coMEDIA electrONica: Performing Intermediality in Contemporary Theatre." Theatre Research International 28, no. 1 (2003): 34–45. http://dx.doi.org/10.1017/s0307883303000130.

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Although the concept of ‘intermediality’ recently has gained prominence within the discourse of Theatre Studies, still various contradictory definitions of that term circulate, none of which applies insight from the field of Media Theory to theatre. Rather than clinging to the banal formula ‘theatre + media = intermedial theatre’ and thus perpetuating the idea of medial specificity, an approach to intermediality informed by Media Theory stresses underlying strategies of processing all kinds of information, including the aesthetic, within a certain period. Consequently, theatre's genuine ‘media

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Nilsson, Johan. "Moments of intermediality: The use of television in joker narratives." Convergence: The International Journal of Research into New Media Technologies 26, no. 2 (2018): 386–401. http://dx.doi.org/10.1177/1354856518786010.

Full text

Abstract:

This article uses the concept of intermediality to explore four different adaptations, across three different media, of the infamous supervillain the Joker. Independent of the medium representing him, a recurring practice is to have the Joker engage with media technologies. Television, in particular, is often used, as in the cases discussed here: Tim Burton’s film Batman (1989) and Christopher Nolan’s The Dark Knight (2008), the comic book Batman: Death of the Family (2014), and the video game Batman: Arkham Asylum (2009). Understood as media combination, intermedial referencing (Rajewsky (200

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