Media Inter Media: Essays in Honor of Claus Cluver by Stephanie A. Glaser

By Stephanie A. Glaser

This interdisciplinary quantity explores, analyzes, and celebrates intermedial techniques. It investigates the dynamic relatives among media in modern inventive productions similar to digitalized poetry and installations or musical rankings 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 designated and various methodological techniques to intermedial inquiry, the members probe a number of kinds of interplay among media: model, appropriation, transposition, move, recycling, grafting, recontextualization, intertextualization, transmedialization, and transcreation. In so doing, they give views which refine our knowing of the time period 'medium' and exhibit ways that intermedial creations interact their audiences and stimulate inventive responses. Written in honor of Claus Clüver, a groundbreaking chief in intermediality stories, the essays perform and increase the scope of present discourses within the foreign discussion board. the diversity in their matters and methodologies will curiosity literary students, artwork historians, musicologists, students of latest media in addition to these operating in intermediality reviews, notice and photograph or be aware and song reviews, and a person whose pursuits pass conventional disciplinary obstacles.

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Illustration 3: Pablo Picasso, “Guernica” (1937), oil on canvas, 351 x 782 cm, Madrid: Museo Reina Sophia. The onomatopoeic depiction of threat in section A of Steffens’s Guernica evokes the striking absence – or avoidance – of color in Picasso’s mural. Picasso had learned of the aerial bombardment of Guernica on April 28, 1937. On May 1, he made his first drawing; the final painting was completed on June 4. A mural-sized canvas 11 feet 6 inches high and 25 feet 6 inches wide, it was exhibited that very month at the Spanish Pavilion at the World Exhibition in Paris, where 46 Siglind Bruhn it became the main attraction in the open entry hall8.

Vos, Eric (1997). “The Eternal Network: Mail Art, Intermedia Semiotics, Interarts Studies”. Lagerroth/Lund/Hedling, eds. 325–336. Webster, Michael (1995). Reading Visual Poetry after Futurism: Marinetti, Apollinaire, Schwitters, Cummings. New York, NY/San Francisco, CA/Bern: Peter Lang. Wolf, Werner (1999). The Musicalization of Fiction: A Study in the Theory and History of Intermediality. Amsterdam/Atlanta, GA: Rodopi. Yoo, Hyun-Joo (2007). Hypertext, Hypermedia: Ästhetische Möglichkeiten der digitalen Literatur mittels Intertextualität, Interaktivität und Intermedialität.

Additionally, the label ‘interarts’ or ‘interart’ may also include – as the title of the volume Interart Poetics: Essays on the Interrelations of the Arts and Media suggests – new media or cross-media. (The volume contains essays on mail art and video programming [see Lagerroth/Lund/Hedling, eds. ) With the inclusion of new media, scholars of literature, music, and the visual arts have been extending their research into the domain of intermediality, and possibly as a consequence, the term ‘interarts’ appears to have given way to ‘intermediality’, as demonstrated, for example, by the volume Cultural Functions of Intermedial Exploration, which discusses the arts in their cultural contexts (see Hedling/ Lagerroth, eds.

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