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Journal articles on the topic 'Intermediality'

Author: Grafiati
Published: 4 June 2021
Last updated: 29 March 2025

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1

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

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2

Johnson, Ian. "Introduction: Historicized Intermediality and Historical Variations on Intermediality." Forum for Modern Language Studies 57, no. 1 (January 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 (December 1, 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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4

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 subcategories, medial transposition, media combination, and intermedial references. By comparison with the genealogical “remediation” concept of Bolter and Grusin, it is shown with respect to which objects and specific research objectives this subdivided concept gains heuristic and practical value. This is particularly the case when detailed analyses of specific medial configurations, their respective meaning-constitutional strategies, and their overall signification are considered.
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5

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 the three-layered definition of medium. The definition includes three complementary types of media considered as “theoretical aspects of what constitutes media and intermediality.” The two of them, basic and qualified media, are presented as abstract categories and structures that reveal the modes in which mediality and intermediality are formed. Technical medium is explained as a material device to embody the medial instances. Elleström’s model provides an opportunity in each particular case to see what could be acknowledged as intermediality, how this intermedial relation affects signification, and what aspects separate it from the French semiotics approach grounded in the Saussurean notion of sign. To exemplify the differences, the article offers the revision of Gremasean semiotic analysis of išlydžių zonos [discharge zones] by Gytis Norvilas within the framework of intermodal intermediality. The revision reveals the limits of semiotic analysis, the potential of intermodal approach, and the interconnection between the intermodal approach to intermediality and Genettean model of transtextuality.
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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 films made between the mid-1930s and the early 1960s, that presented musical performances intertwined with comic situations, slender narrative lines and strong connections with the world of Carnival. Our aim is to show how the relationships between the different forms of cultural production in 1950s Brazil can be identified in a specific chanchada, opening a dialogue between musical performances on stage, over the radio, at Carnival and on screen. The essay also examines similarities and differences between chanchadas and the Hollywood musical comedy tradition. One area explored is integration, both in the sense in which it is often used in film studies, to discuss the relationship between the numbers and the narrative, and in reflecting on whether the different elements which feed into the numbers of Aviso aos navegantes are seamlessly combined in the film. Despite the huge popular success of his films, Watson Macedo was considered by many as the most “Americanised” of the directors of that period, adhering less to the critical mechanisms of parody than was the case with his contemporaries. However, if we pay attention to Macedo’s musical numbers, it is evident that these performances are not imperfect copies of Hollywood originals, but have a logic of their own. This audiovisual essay complements Flávia Cesarino Costa’s other contribution to this issue of Alphaville, the article “Building an Integrated History of Musical Numbers in Brazilian Chanchadas”, by exploring related ideas in the context of a single film. As well as the interest of the video essay’s own exploration and argument, the pairing of essays—traditional and videographic—enables readers of this issue to pursue their thinking about chanchadas and intermediality with specific audiovisual material in front of them
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7

Laws, Catherine. "Beckett, Music, Intermediality." Samuel Beckett Today / Aujourd’hui 32, no. 1 (April 17, 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 Tilbury’s version of Worstward Ho, for piano, recorded voice and electronics.
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8

Segal, E. "Intermediality and Storytelling." Poetics Today 33, no. 3-4 (September 1, 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 (July 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, which will tackle the reconstruction of historical functions of intermedia processes; the blurring of genre patterns; new interactivities; the interplays among medial, technological, economic, and social vectors; and the making of meaning in current media networks. Thus, some (interwinding?) paths of future intermedia studies will be indicated.
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10

BENNETT, JILL. "AESTHETICS OF INTERMEDIALITY." Art History 30, no. 3 (June 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 (September 1, 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 article uses the examples of Jijé and Watchmen. It also aims at emphasising the wide variety of parameters that play a role in inter- and transmediality.
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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 (March 31, 2021): 938. http://dx.doi.org/10.5565/rev/jtl3.938.

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13

Лупак Н. М. "КУЛЬТУРНОСЕМІОТИЧНИЙ, МЕДІАТЕХНОЛОГІЧНИЙ, КОМУНІКАТИВНИЙ ПІДХОДИ У ДОСЛІДЖЕННІ ПОНЯТТЯ «ІНТЕРМЕДІАЛЬНІСТЬ»." Science Review, no. 6(23) (July 31, 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. The main approaches to the classification of interartistic relations have been analyzed. Taking into account the polysemy of the notion of «media» (as a carrier of information, a sign system, technical means of communication, a way of communication) the idea has been is grounded on the fact that today the concept of «intermediality» should be considered from three sides: cultural-semiotic, media-technological and communicative. In view of this, three approaches to the understanding of intermediality have been outlined: cultural-semiotic, media-technological, communicative.
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14

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 challenges in the field, the diversity of topics and approaches, and the possible new directions including the one proposed by the organizing research team focusing on the idea of “affective intermediality.” The participants in this discussion were asked by Ágnes Pethő to answer five groups of questions with the aim of providing an inspection of key issues affecting the study of intermediality, and to offer an overview of ideas that have emerged from the diversification of intermedial scholarship practiced in various parts of the world. Although far from comprehensive in its covering of geographical areas or publication outlets, with some of the answers more succinct than the others, this survey puts a spotlight on important publications and theoretical concerns of intermedial scholarship today. It probably raises even more questions that might be the focus of further debates.
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15

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 attention to the intermedial relations of the work, while extraverted intermediality is directed outwards, engaging the user through an affective register. The concepts of introversion and extraversion point to the dynamics of intermediality and enable a more specific analysis of intermedial artworks.
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16

Besson, R., and C. Bem. "Intermediality: Axis of Relevance." SubStance 44, no. 3 (January 1, 2015): 139–54. http://dx.doi.org/10.3368/ss.44.3.139.

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17

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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18

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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19

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

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20

Helles, Rasmus. "Mobile communication and intermediality." Mobile Media & Communication 1, no. 1 (January 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 user across all contexts of daily life.
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21

Palmer, Morgan E. "Inscriptional Intermediality in Livy." Trends in Classics 11, no. 1 (September 15, 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 this combination, and demonstrating how the specific ratio of literary, linguistic, and topographical features in his ekphrases generate unique impressions of real-world monuments, this chapter re-reads Livy’s history from the perspective of intermedial theory. This process not only advances our understanding of the Ab urbe condita as a literary work, but also thrusts individual aspects of Livy’s narrative technique – including visuality and unique formulae such as the introductory formula tabula … cum indice hoc posita est (Livy 41.28.8) – into the spotlight.
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Dinter, Martin T. "Intermediality in the Metamorphoses." Trends in Classics 11, no. 1 (September 15, 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’, which provide a subversive take on intermediality due to their negative connotations, and ‘meta-intermediality’, through which Ovid comments on media and their narratological potential within the wider poem. By thus problematising medial communication, Ovid identifies and advocates a hierarchy of art forms based on their effectiveness as monumentalising devices: within this system, engravings – owing to their permanence – take precedence over woven or written products. This tendency comes to the fore in the final book of the Metamorphoses, in which Ovid links his poetry to the Fates’ records on ‘brass and solid iron’ (Ov. Met. 15.808–815). In so doing, he does not only assert the authority which his work possesses as a prophecy for Rome’s greatness, but also appoints himself as a renowned bard for the ages.
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23

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

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24

Sava, Laura. "The Problem of Film Theatre Intermediality in Jesus of Montreal." Excursions Journal 1, no. 1 (September 12, 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 studies intermediality is still to a certain extent impending, it is highly applicable to instances where film quotes or references another medium. A focus on intermediality in Jesus of Montreal authorizes questions such as: Which are the prioritized connection points between film and theatre? How is the relation of the two media formulated by Arcand? How does a filmmaker stage a theatrical event for a cinema audience? My paper seeks to demonstrate and exemplify the sophisticated nature of the film’s involvement with theatre. To this effect, I shall use ideas drawn from intermediality studies, narratology and drama theory in conjunction with close analysis of chosen sequences.
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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 creates media myth about sacred function of the art as a meta-text.
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Bates, Julie. "Intermediality and the Future Anterior." Samuel Beckett Today / Aujourd’hui 32, no. 1 (April 17, 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 intermediality is evocative, I believe, of what Dillon describes as “a modernist future that never came to pass.”
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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 Derrida, Lyotard and Nancy. Finally the contours of an ontology of the “in-between” are redefined in terms of the Kantian and Heideggerian Inter-esse.
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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 from this perspective, the article provides new insights into how memory reconstruction can be shaped by intermediality in the context of Umberto Eco’s work.
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Catalá, Jorge, Benoît Mitaine, Lisa Maya Quaianni Manuzzato, and José Manuel Trabado Cabado. "Introduction." European Comic Art 16, no. 2 (September 1, 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 an intermedial cultural production or in relation to other media, the article argues that intermediality has been a consistent theme throughout the history of Iberian comics and key to new aesthetic and conceptual explorations in the medium.
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Westgeest, Helen. "Intermedialities as Sociopolitical Assemblages in Contemporary Art." Arts 12, no. 4 (August 3, 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 artworks. The case studies in this Special Issue underscore this view. As a kind of kick-off, the second part of this essay includes a short case study that focuses on two artworks by the Lebanese artist Rabih Mroué in order to provide insight into how intermedial relations can act as metaphors for the sociopolitical relations addressed in his artworks. Applying philosopher Manuel DeLanda’s “assemblage theory”, philosopher Edward S. Casey’s concept of “absorptive mapping”, and anthropologist Tim Ingold’s view of living beings as consisting of a bundle of lines facilitates the highlighting of the sociopolitical aspects of intermediality in Mroué’s artworks.
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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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32

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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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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34

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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35

Budd, Natasha. "Intermediality and the child performer." Research in Drama Education: The Journal of Applied Theatre and Performance 21, no. 3 (June 30, 2016): 309–18. http://dx.doi.org/10.1080/13569783.2016.1195120.

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36

Trimingham, Melissa, and Nicola Shaughnessy. "Material voices: intermediality and autism." Research in Drama Education: The Journal of Applied Theatre and Performance 21, no. 3 (June 30, 2016): 293–308. http://dx.doi.org/10.1080/13569783.2016.1195121.

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37

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

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38

Brook, Clodagh, Florian Mussgnug, and Giuliana Pieri. "Open Works: Italy’s Creative Intermediality." Italian Studies 74, no. 4 (October 2, 2019): 329–30. http://dx.doi.org/10.1080/00751634.2019.1658917.

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39

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 (July 2014): 134–49. http://dx.doi.org/10.1179/1478731814z.00000000049.

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41

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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42

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 (December 20, 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 the post-Soviet and Western science, the concept of "intermediality" has different interpretations, and in this paper, it is associated with the designation of the concept of "interaction of arts", but more broadly, it involves the interaction of languages of different types of arts in the whole system.
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Pethő, Ágnes. "Approaches to Studying Intermediality in Contemporary Cinema." Acta Universitatis Sapientiae, Film and Media Studies 15, no. 1 (October 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 entanglements. Finally, the article describes a new type of intermediality, which integrates elements of trans-textuality, creating a format of expanded cinema within cinema. This strategy is presented in the context of Eastern European cinema through a short case study of Cristi Puiu’s film, Sieranevada (2016).
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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 (July 6, 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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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 (January 1, 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 texts of German modernism can be explained. Crucial are the references to and descriptions of music in the texts of Thomas Mann which other authors had to face. The result was a specific competitive situation with productive potential. It is examined on the basis of texts by Mann, Schnitzler, and Musil.
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Boenisch, Peter M. "coMEDIA electrONica: Performing Intermediality in Contemporary Theatre." Theatre Research International 28, no. 1 (February 17, 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 ‘mediality’ already implies its ‘intermediality’, which in fact can be traced back all the way to classical Greek drama. Within the present transformation from McLuhan's ‘Gutenberg Galaxy’ into an ‘electrONic culture’, theatre now trains its spectators in cognitive strategies of that emerging cultural paradigm. The performance Circulation Module by the Japanese group NEST reflects these significant repercussions of electrONic culture on theatrical performance at the turn of the twenty-first century.
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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 (July 10, 2018): 386–401. http://dx.doi.org/10.1177/1354856518786010.

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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 (2005) Intermediality, intertextuality, and remediation: A literary perspective on intermediality. Intermédialités 6: 43–64), and through concepts such as contingency and liveness (Doane (2002) The Emergence of Cinematic Time: Modernity, Contingency, the Archive. Cambridge: Harvard University Press), these intermedial moments, by way of emphasizing the materiality and temporality of media, are found to promote immersion while simultaneously causing tension by destabilizing the act of viewing.
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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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Manggala, Delimaniati Bungsuna Manggala. "Audience Reception of Intermediality in Sandiwara Sastra Podcast." Lakon : Jurnal Kajian Sastra dan Budaya 11, no. 2 (November 29, 2022): 98–109. http://dx.doi.org/10.20473/lakon.v11i2.37521.

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Intermediality is a commonplace in the literary world, however it has not been widely found in the form of audio podcasts. The use of podcasts as a new medium for distributing audio plays can be an attractive option considering that youth as the target audience are currently very fond of podcasts. The Sandiwara Sastra podcast is interesting to study because it used a popular literary works that already have numerous readers, but it is not easy to make plays in an audio format that are liked by youth who are more familiar with visual literature. The purpose of this study is to determine the youth’s reception of intermediality on the Sandiwara Sastra podcast and to find out the role of the interpretive community in the production of meaning. With Irina O Rajewsky's intermediality framework and Alasuutari's third generation audience reception analysis framework. The results show that the intermediality of the Sandiwara Sastra podcast can provide a new experience for youth as the audience in enjoying literature. The audio component makes the audience feel closer to the literary story because audio can create a theater of mind. Audio can also evoke memories and bring back nostalgia when the audience listens to them. The use of the Sandiwara Sastra podcast also gives the audience a choice regarding the mode of listening to the podcast, even though the audience is not focused on enjoying literature.
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Seifert, Еlena I. "THE INTERMEDIALITY OF HARRY GORDON’S POETRY." Sphere of Culture, no. 1 (2021): 91–100. http://dx.doi.org/10.48164/2713-301x_2021_3_91.

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