scholarly journals Cultural transgressions in contemporary literary texts for children

2021 ◽  
Vol 14 ◽  
pp. 59-70
Author(s):  
Anna Warzocha
Keyword(s):  
New Media ◽  
Literary Texts ◽  
Cultural Paradigm ◽  
Communicative Context ◽  
Adult Reader

Literature, also created with children in mind, to quote Kazimierz Brodziński, is a mirror of the age and the nation. Reacting to the change of cultural paradigm, it opens the borders, meets the current needs of the audience, adapts its repertoire to their interests and new narrative practices. Contemporary technological ubiquity generates an asymmetry of semiotic matter and communicative context, which realizes displacements in the area triad: culture-literature-media, thus triggering transgressions in literary texts. The questioning of the conventions of writing and printing causes modifications in the architectural structure of readings, which become on-linear, use the language of old and new media, and follow the example of audiovisual productions. The article highlights some of the transformations taking place in literature aimed at the on-adult reader in times of a culture that is changing anthropologically in spectacular and audiovisual way.

Romantic Capabilities

2020 ◽  
Author(s):  
Mike Goode
Keyword(s):  
New Media ◽  
Literary Criticism ◽  
Historical Context ◽  
Popular Media ◽  
Literary Texts ◽  
Reception Studies ◽  
Ecological Design ◽  
Conflicting Demands ◽  
Contemporary Media

Romantic Capabilities argues that popular new media uses of literary texts often activate and make visible ways the texts were already about their relationship to medium. Devising and modelling a methodology that bridges historicist literary criticism and reception studies with media studies and formalism, it contends that how a literary text behaves when it encounters new media reveals capabilities in media that can transform how we understand the text’s significance for the original historical context in which it was created. Following an introductory chapter that explains and justifies its approach to the archive, the book analyses significant popular “media behaviors” exhibited by three major Romantic British literary corpuses: the viral circulation of William Blake’s pictures and proverbs across contemporary media, the gravitation of Victorian panorama painters and stereoscopic photographers to Walter Scott’s historical fictions, and the ongoing popular practice of writing fanfiction set in the worlds of Jane Austen’s novels and their imaginary country estates. Blake emerges from the study as an important theorist of how viral media can be used to undermine law, someone whose art deregulates through the medium of its audiences’ heterogeneous tastes and conflicting demands for wisdom. Scott’s novels are shown to have fostered a new experience of vision and understanding of frame that helped launch modern immersive media. Finally, Austenian realism is revealed as a mode of ecological design whose project fanfiction grasps and extends.

The electronic editor

Book 2 0 ◽  
2014 ◽  
Vol 4 (1) ◽  
pp. 101-114
Author(s):  
Elyse Graham
Keyword(s):  
New Media ◽  
Experimental Period ◽  
Literary Texts ◽  
Digital Culture ◽  
The Internet ◽  
Present Moment ◽  
Social Worlds ◽  
Literary Field ◽  
Internet Age ◽  
Ideal Position

This article is a study of literary mediation in the age of the e-book. It focuses on a specific editorial project being undertaken by scholarly editors in the present day, when the late age of print is giving way to the digital age. The author argues that the present moment represents a deceptively strong period for print publishing, but an uncertain and experimental period for literature, a time when the values and practices that order the literary field are no longer well-defined. The spread of digital culture is reconfiguring the make-up of the reading public, shaping readers as ‘prosumers’ who at once consume and manipulate content. Just as importantly, hyper-mediation and media convergence are forcing critics to confront an ‘unbinding of the book’ that began in practice decades before the Internet age. As professional mediators, editors occupy an ideal position to register the opportunities and the pressures of these processes, whether they are literary entrepreneurs or scholars implicated in literature as an institution. Their efforts to delimit literary texts and sell them as a particular kind of cultural institution show how the game of literature and its rules of play change shape under the pressures of new media configurations and new social worlds.

scholarly journals Principles and modes of new media architecture

2017 ◽  
Vol 15 (2) ◽  
pp. 239-249
Author(s):  
Jelena Brajkovic ◽  
Lidija Djokic
Keyword(s):  
New Media ◽  
Complex Nature ◽  
Scientific Culture ◽  
Digital Revolution ◽  
Architectural Practice ◽  
Architectural Space ◽  
Cultural Paradigm ◽  
Computer Technologies ◽  
Science And Culture ◽  
Contemporary Practice

The contemporary age is marked by the rapidly advanced digital revolution, unstoppable rise of computer technologies and omnipresence of technological advancements in all aspects of everyday life. In the information era, computer technologies have become pervasive, ubiquitous and dominant. Their hybridization with previously present media forms resulted in the emergence of a new and exuberant field of new media and technologies. New media is a hybrid field of computer based technological forms, which are used in contemporary practice, not only as tool, but also as an expressive medium. Because of the complex nature of new media, the field is extremely hybrid, positioned at the intersection of art, science and culture. Its emerged cultural paradigm is scientific culture, in which dominant characteristics are technological art and cultural forms, as well as information and techno society. In this overall context, architecture is not an isolated phenomenon. The new media have influenced the field of architecture too, offering new possibilities, features, design methodologies and principles for conceptualizing and developing architectural space. In architectural practice different modalities of the new media are being used. These modalities initiated the emergence of the field of new media architecture. The distinction of these state-of-the-art types of architectural space, together with the principles and concepts they rely on, were the main focus and main contribution of the research presented in this paper.

Introduction: Media Behaviors; or The New Messages of Old Media

2020 ◽  
pp. 1-32
Author(s):  
Mike Goode
Keyword(s):  
New Media ◽  
New Method ◽  
Literary Texts ◽  
Reception Study

Based on the proposition that new media uses of literary texts often respond to ways that texts were already about their relationship to media, the chapter develops a methodology that relies on the specificity of a text’s medial afterlife to open avenues of inquiry into the text’s significance in earlier historical contexts and media ecologies. The chapter contends that the vehicles for how a text culturally persists include the contingent relationship the text bears to media, a contingency memorialized in how it hypermedially uses, refers to, and comments on its lack of immediacy. The chapter previews the book’s findings when its new method of historicist reception study is applied to specific medial afterlives of William Blake’s, Walter Scott’s, and Jane Austen’s writings. It also explains how its methodology relies on Gilles Deleuze’s concept of the virtual substrate present in any reality, an idea whose Romantic antecedent is the notion of “capabilities.”

scholarly journals L’évolution du suffixe –issime : un inventaire et une fréquence des formes attestées dans Frantext

2019 ◽  
Vol 10 (1) ◽  
pp. 17
Author(s):  
Anders Nils Bengtsson
Keyword(s):  
New Media ◽  
Iberian Peninsula ◽  
French Literature ◽  
Literary Texts ◽  
Romance Languages

The synthetic superlative -ÍSSIMUS in Latin survived in Italian, whereas it was borrowed in the Romance languages on the Iberian Peninsula and in French during the Renaissance. This suffix has been very frequent in these languages with the exception of French. In this language it has been accepted merely when used in titles. Condemned by grammarians, the suffix has thus been quite rare in French literature. The present study shows however that in the database Frantext, which comprises mostly literary texts, nearly 1,400 occurrences of words with the suffix -issime are found, rarissime and richissime being the most frequent (apart from titles). But with the emergence of new media, it seems that the suffix has become much more frequent in French. These adjectives are found mainly in areas like politics, sports, travels, adult movies and in comments by web visitors as shown in this study.

scholarly journals Poetry in Transmedial Perspective: Rethinking Intermedial Literary Studies in the Digital Age

2015 ◽  
Vol 10 (1) ◽  
pp. 169-182 ◽  
Author(s):  
Heike Schaefer
Keyword(s):  
New Media ◽  
Contemporary Literature ◽  
Digital Age ◽  
Literary Texts ◽  
Experimental Poetry ◽  
Literary Studies ◽  
Test Case ◽  
Literary Practice ◽  
Media Change ◽  
Single Medium

Abstract In the digital age. literary practice proliferates across different media platforms. Contemporary literary texts are written, circulated and rea|d in a variety of media, ranging from traditional print formats to online environments. This essay explores the implications that the transmedial dispersal of literary culture has for intermedial literary studies. If literature no longer functions as a unified single medium (if it ever did) but unfolds in a multiplicity of media, concepts central to intermediality studies, such as media specificity, media boundaries and media change, have to be reconsidered. Taking as its test case the adaptation of E. E. Cummings’s experimental poetry in Alison Clifford’s new media artwork The Sweet Old Etcetera as well as in YouTube clips, the essay argues for a reconceptualization of contemporary literature as a transmedial configuration or network. Rather than think of literature as a single self-contained medium that engages in intermedial exchange and competition with other media, such as film or music, we can better understand how literature operates and develops in the digital age if we recognize the medial heterogeneity and transmedial distribution of literary practice.

Alternative truths and delegitimization pragmatic strategies around the 2018 Italian elections

2019 ◽  
Vol 7 (2) ◽  
pp. 293-320
Author(s):  
Benedetta Baldi ◽  
Ludovico Franco ◽  
Leonardo M. Savoia
Keyword(s):  
Social Media ◽  
New Media ◽  
Hate Speech ◽  
The Political ◽  
Fake News ◽  
Social Actors ◽  
Communicative Context ◽  
Pragmatic Strategies ◽  
Alternative Reading ◽  
Rhetorical Tools

Abstract In this paper we aim at analysing, from a pragmatic viewpoint, the rhetoric of delegitimization of the opponent in new media insofar as it triggers individual, uncontrolled and deep-rooted forms of communications. The communicative context is that of the political controversies and the propaganda around the Italian elections of March 2018. Accusations of fake news, hate speech and other delegitimizing rhetorical tools occur within the messages distributed on social media by politicians. We are specifically interested in illustrating and examining the disposition/standpoint of public social actors, of politicians in particular, toward the (delegitimizing) effects of the spreading of foul language, hate speech and fake news as instruments for re-shaping reality and introducing an alternative reading of facts.

Adaptation in the digital era: The case of Robert Zemeckis’ Beowulf

2021 ◽  
Vol 14 (1) ◽  
pp. 41-51 ◽  
Author(s):  
Magdalena Cieślak
Keyword(s):  
New Media ◽  
Old English ◽  
Literary Texts ◽  
Special Effect ◽  
Adaptation Studies ◽  
Medium Specificity ◽  
Digital Era ◽  
Box Office ◽  
Heroic Poem ◽  
Robert Zemeckis

From fidelity discourse, through medium specificity discourse, to intertextuality and remediation approach, adaptation studies have dynamically evolved and recently have responded with particular flexibility to the advent of the digital era. Even adaptations of classical literary texts, confronting the authority of their hypotexts, have daringly broken away from their fidelity constraints and ventured onto paths facilitated by the development of new media. This article discusses Robert Zemeckis’ 2007 adaptation of Beowulf and examines this film’s potential for illustrating the manifestations of digitality in adaptation discourses. A film that did not make it (in)to the box office, and an adaptation that makes literary fans cringe, it is still a fascinating cultural intertext: a radical reinterpretation of the Old English heroic poem, a star-studded special-effect cinematic extravaganza of an adventurous director, an illustration of adaptation going remediation and an inclusive transmedia hybrid.

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