By Stephanie A. Glaser
This interdisciplinary quantity explores, analyzes, and celebrates intermedial approaches. It investigates the dynamic family among media in modern inventive productions equivalent to digitalized poetry and installations or musical ratings by way of Walter Steffens and Hugh Davies; in texts like Dieter Roth's diaries, Ror Wolf's guidebooks, Charles Baudelaire's artwork feedback, or Lewis Carroll's Alice books; and in inherently intermedial items like Stéphane Mallarmé's Un Coup de Dés and Augusto de Campos's poetry. via special and numerous methodological techniques to intermedial inquiry, the individuals probe a number of types of interplay among media: model, appropriation, transposition, move, recycling, grafting, recontextualization, intertextualization, transmedialization, and transcreation. In so doing, they give views which refine our realizing of the time period 'medium' and display ways that intermedial creations have interaction their audiences and stimulate artistic responses. Written in honor of Claus Clüver, a groundbreaking chief in intermediality reports, the essays perform and expand the scope of present discourses within the overseas discussion board. the variety in their topics and methodologies will curiosity literary students, artwork historians, musicologists, students of latest media in addition to these operating in intermediality stories, notice and photograph or note and song reviews, and a person whose pursuits pass conventional disciplinary limitations.
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Extra resources for Media Inter Media: Essays in Honor of Claus Cluver
Sample text
These studies also analyze the intermedial relations within such works. Part Two, “The Visual Page”, focuses on the dynamic relations between media and the interactions between the verbal and the visual in intermedial objects, here: the book and the poem. It first addresses questions of illustration, including its ontological status and function, and, in the next section, it turns its focus to visual and concrete poetry. These essays demonstrate that, contrary to the traditional convention which privileges the written word, the verbal often bends and gives way to the visual, which has been pushed to the extreme in concrete poetry where the two fuse into one iconic product, as demonstrated in the final section.
Dynamics of Intermedial Inquiry 15 with its predominant meaning: the fusion of two or more art forms in one work, and gave it the sense of something innovative. No wonder that in the late 1960s and 1970s ‘intermedia’ became the catchword for the avant-garde, and groups of artists frequently used the term (cf. Yoo 2007: 153). One of these groups, for example, founded in 1966 by the Russian artist Otto Beckmann, was the “ars intermedia”, an experimental atelier that is still in existence today, where artists, architects, musicians, directors, and scholars could gather, discuss, and create and where artistic endeavors could be combined with scholarly inquiry5.
David Jackson mentions in his overarching exploration of the importance of the eye and trompe-l’œil in Augusto de Campos’s poetry. Fittingly, Augusto de Campos’s own computer-scripted version of Claus Clüver’s English translation of his poem “memos” concludes the volume. Dynamics of Intermedial Inquiry 27 Besides exploring the types of dynamic relations between media, the essays in this volume bring several other themes to the fore. One of these is the alliance between poetry and music, first in the visual dimension of a musical score when it incorporates verbal texts and images, second in the musical effects of poetry, in its sonorization as well as in its visual patterning.