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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.

This handbook provides an extensive overview of traditional and emerging research areas within the field of intermediality studies, understood broadly as the study of interrelations among all forms of communicative media types, including transmedial phenomena. Section I offers accounts of the development of the field of intermediality - its histories, theories and methods. Section II, III and IV then explore intermedial facets of communication from ancient times until the 21st century, with discussion on a wide range of cultural and geographical settings, media types, and topics, by contributors from a diverse set of disciplines. It concludes with an emphasis on urgent societal issues that an intermedial perspective might help understand

In her article "Intermediality, Rewriting Histories and Identities in French Rap" Isabelle Marc Martínez analyzes aspects of French hip hop culture. As an example of resistant cultural manifestations, hip hop scenes all over the world develop strategies to subvert mainstream values and to replace them by new de-localized, contesting identities via intermedial and intertextual processes. In France during the 1990 rap was intended to reassess French national history and national selfperception. Foundational hip hop bands such as Assassin, Ministère AMER, IAM, and NTM aimed at discrediting official narratives concerning the French culture's colonial and social past. hip hop artists, who viewed themselves as poets in a romantic vein, invested themselves with a responsibility that was political, ethical and aesthetic. From this position of poetic superiority, they attempted to alter official narratives by questioning and reviewing the educational system of France. The outcome of these resistant strategies was the forging of new multicultural and multiethnic identities of French culture, which have been in fact partly appropriated by mainstream culture and politics.

Artigo realizado no âmbito do projecto "PO.EX'70-80 Arquivo Digital da Literatura Experimental Portuguesa", com a Refª PTDC/CLE-LLI/098270/2008, financiado por fundos nacionais através da FCT/MCTES (PIDDAC) e co-financiado pelo Fundo Europeu de Desenvolvimento Regional (FEDER) através do COMPETE – Programa Operacional Factores de Competitividade (POFC). ; Concrete poetry does not constitute an organized movement in Portugal. Instead, one must consider a range of contemporary Portuguese poetic experimentations achieved by several poets which come close, at a given point in time, to the aesthetics of concretism. This distinctive feature of the Portuguese context is outlined in this article in a comparative perspective, situating the poetics and politics of experimentalism within the international context of concrete poetry, but stressing specific aspects of the critical, historical and political Portuguese context. At the same time, the concrete tendency of experimental poetry points to the importance of literary and communication theories, as semiotics, information theory, and others provide background to understanding individual poems and manifestoes of the poets mentioned within. Finally, the article takes into consideration the fact that concrete poetry fits in larger poetic discourses, ultimately forcing the importance of poetic discourse and literary practices for a better understanding of our surrounding world and culture.

Cover -- Half Title -- Title -- Copyright -- Contents -- Series Editors' Foreword -- 1 Introduction: What Is Intermediality and Why Study It in U.S. Classrooms? -- 2 Deep Viewing: Intermediality in Preservice Teacher Education -- 3 Intermediality in the Classroom: Learners Constructing Meaning Through Deep Viewing -- 4 Preservice Teachers' Collages of Multicultural Education -- 5 A Late-'60s Leftie's Lessons in Media Literacy: A Collaborative Learning Group Project for a Mass Communication Course -- 6 The Power and Possibilities of Video Technology and Intermediality -- 7 A Feminist Critique of Media Representation -- 8 Critical Media Literacy as an English Language Content Course in Japan -- 9 Critical Viewing as Response to Intermediality: Implications for Media Literacy -- 10 Intermediality, Hypermedia, and Critical Media Literacy -- 11 Afterword -- About the Editors and Contributors -- Index

This handbook offers students and researchers compact orientation in their study of intermedial phenomena in Anglophone literary texts and cultures by introducing them to current academic debates, theoretical concepts and methodologies. Each contribution combines theory - intermediality, multi- and plurimediality, transmediality, ekphrasis, remediation, adaptation etc. - with concrete analysis of literary texts from different centuries

In her article 'Border Talks: The problematic status of media borders in the current debate about intermediality' Rajewsky points out that the concept of intermediality as a crossing of media borders has come under scrutiny. Critics emphasize that today's art is characterized by an increasing dissolution of media borders and claim that the criterion of medial border crossing no longer applies. We can frame this stance within the context of the digitalization of contemporary culture where hybridity has replaced media specificity. A similar shift in thinking has occurred in the work of the Intermediality working group. The group's first book (2006) emphasized the notion of the 'in-between'. Intermediality was put forward as an artistic force that operates in-between performer and audience, media and realities. The intermedial was conceived of as a creative gap, an enabling space where distinct media met and new modes of representation and experience came into existence. The group's second book (2010) set out to investigate intermediality in the context of digital culture. The focus shifted from the notion of the in-between towards the idea of 'both-and', that seemed better to characterize contemporary performance culture. Concepts such as 'gap', 'clash' and 'hypermediacy' were replaced by 'node', 'network' and 'immediacy'. Intermediality was addressed as an aesthetic rather than an artistic force, implying a shift from a focus on art to a broader perspective on cultural production. I will address the group's shifts in conception of 'the intermedial' over the last decade by way of the question as to what is gained and lost in those shifts. For example, what are the consequences of no longer thinking about intermediality in terms of medial gaps, clashes and disturbances for the previously vaunted critical and political potential of intermediality?

To dismantle negative stereotypes of fans, this book offers a media ethnography of the digital culture, conventions, and urban spaces associated with fandoms, arguing that fandom is an area of productive, creative, and subversive value. By examining the fandoms of Sherlock, Glee, Firefly, and other popular television-based franchises, the author appeals to fans and scholars alike in her empirically grounded methodology and insightful analysis of production hierarchies, gender, sexuality, play, and affect.

Based on an international conference held in Saarbrücken in June 2017 that was attended by scholars from France, Germany, England and Ireland, the articles gathered in this volume constitute volume 6 of the LAPASEC series (Landau-Paris Studies on the Eighteenth Century). The essays represent the outstanding contributions to the symposium. Concerned with intermediality and the circulation of knowledge in the age of Enlightenment, the twelve pieces, divided into four sections, address aspects of theory, discursive intermediality, generic intermediality and the intermediality of objects. In doing so, they take cognizance of what is amiss in the field of intertextual/intermedial studies, i.e. the discussion of its relevance outside narratology as well as a true and interdisciplinary interest in the essentially rhizomatic nature of cultural representations (texts, images, musical pieces and material objects).

The purpose of the article is to reveal the peculiarities of the manifestation of termediality in modern art in their influence on perceptual processes and to propose appropriate technologies for the perception of intermedial artistic phenomena. The research methodology is based on the concepts of media theory, communication theory, modern art theory and uses general scientific principles of interconnection, systematisation, and synergy. The purpose and objectives of the article necessitated the application of the method of extrapolation of heuristic algorithms of exact sciences to the heuristics of artistic phenomena with a view to practical methods of organising the perception of the intermediality of modern art by students of higher education. The use of the analytical method made it possible to identify the content and design resources of intermediality in its current development. The scientific novelty consists in projecting the properties of intermediality of modern art onto the technology of its perception in the process of university training. In the article, for the first time in domestic art history, the peculiarities of the manifestations of intermediality of modern art in connection with the communication of its recipients are understood. Conclusions. Intermediality is one of the main trends in the development of art, which consists in a kind of dialogue. From the point of view of perceptual processes, intermediality actualises the integrity of perception, which involves different sensory modalities. Intermediality in the modern artistic space outgrows the boundaries of the interaction of arts, connecting other spheres of culture and ensuring the inseparability of synthesised elements in creative practices different from traditional ones. Perception of intermedia modern art requires preparation, which should be carried out in the educational process. Effective technologies for perceiving the intermediality of modern art are interactive and intermedial.

This paper explores the two key features of Jasminina Musabegović's style – sensuousness and intermediality. These two features can be regarded as stylistic dominants in the works of this writer, essayist, critic, and editor, where orientation on language is always strongly present. Intermediality is in some cases realized as ekphrasis (verbal representation of a visual work of art, i.e. a painting, photograph, piece of architecture), whereas in other cases verbal devices create filmicity. so that some of the scenes in her novels look like movie frames. It is argued that there exists unity of style in all works of this author, whereby her novels contain elements of essays and other genres, and lyricism and sensuousness occupy a central place in all her texts.