The small book explains the media theoretical and historical-theological foundations of spiritual intermediality and spirtual emblematica in the Early Modern Period.
In modern Ukrainian literary studies, the problem of researching intermedial relations in the artistic works of the Sixtiers, in particular, Ihor Kalynets, is relevant. At the same time, there is a ...lack of studies devoted to the analysis of separate texts. In our opinion, the poem ‘Great-grandfather’ from the collection ‘Kupala Fire’ demonstrates a harmonious interaction of the text levels, from the level of plot to the phonetic one. Therefore, the purpose of this article is a holistic study of the poem.
A structuralist approach was used to achieve the mentioned goal. The poem ‘Great-grandfather’ contains the signs of cinematography, and it is based on an external plot. The clipped image of the great-grandfather playing the violin is subtly nuanced and dynamic. The image of the violin, as an ancient sophisticated instrument symbolizing the soul of the great-grandfather, is analyzed. The examination of the dedication in the poetry (to ‘Oleg Krysa’ who is a world-famous Ukrainian violinist) gives reasons to assume that the great-grandfather was a virtuoso violinist. The images of a bow and rosin were analyzed as the attributes of a specific prayer-playing. The meaning of the violin playing is to help the nature and people to by pass the time of twilight with the minimum losses, to turn the chaos of dusk into the cosmic time of a starry night. At this point the great-grandfather becomes the centre of interaction, the final (the fifth) element which enables the transformation.
During the study of the colouring of the poem, we managed to conclude that the poetry was not so much of interest because of the colours, but because of their brightness. A noticeable development of brightness to the climax point was followed by a sinusoidal downturn. The last counterpoint in the colour chart is the image of the lemkas-‘soniakhs’ (sunflowers) who are under the influence of the maestro’s playing. The soundcode confirms the expressed ideas and demonstrates I. Kalynets’ virtuoso mastery of phonics.
It is concluded that the great-grandfather, who is a violinist, becomes the mediator of the cosmic processes at the moment when he loses the boundaries of his own personality and dissolves in art. The great-grandfather, turning the chaos of twilight into the Cosmos, opens up new spiritual perspectives for his fellow Lemks. It is about a mystical art that unites the day and the night, the heaven and the earth, the man and the God.
The article examines the code of painting and the media codes of other sign systems that are inseparable from it, forming a peculiar picture of the modern information world as a world of simulacra in ...M. Houellebecq’s novel “La carte et le territoire” (“The Map and the Territory” in English translation). The purpose of the work is to reveal the role and functions of the painting code and related to it media codes of photography, video art, architecture, advertising, and the Internet in the author of “The Map and the Territory” narrative strategy, that permits to identify some general laws of, typical for postmodern art, intermedial thinking and to clarify the concept of intermediality itself. We have applied intertextual, intermedial, hermeneutic, historical and literary research methods to conduct the research. The simulation, real world depiction imitation, which is replaced in the novel by its numerous “copies of copies”, begins with the first appellative structure of the text, the title itself – “The Map and the Territory”. The title announces the principle of replacing reality (territory) with its conventional image (map), which makes an emphasis on the intermedial prism as a decisive idea of world reproduction in the novel. Painting, as one of the most expressive forms of world depiction, is presented in the novel as a product of the simulacra multiplication technology, which is the leading one for the modern information society, where secondary modeling systems occupy an increasingly significant place. Painting, as a kind of litmus test, allows Houellebecq to show how various media zones, that create a distorted picture of the real world, interact and influence a modern person. Painting as “The Map and the Territory” central hero’s profession underpins the intermedial discourse of the novel, being in the focus of characters’ philosophical discussions and revealing its dominant role in the plastic accuracy of Jed’s paintings and photographs description. In the novel the literary text is consistently synchronized with the works of painters Koons and Hirst, whose images are depicted in the painting “Damien Hirst and Jeff Koons divide the art market” which opens “The Map and the Territory”. There is a verification of the painting by a word and vice versa. Multimedia spaces are superimposed on each other, giving birth to an intermedial, whimsical image of the modern world, which is successively destroyed by man, giving it to secondary sign systems. The idea of the simulacrum as a marker of modern culture determines both the form and the content of Houellebecq’s novel which carried out a “realist-postmodern synthesis” through an intermedial narrative strategy. Conclusion. The principle of simulacrum thinking, as a leading in modern art, was born by the world of simulacra in which modern man lives. The narrative strategy chosen by Houellebecq to demonstrate the secondary nature of modern ways of representing the world should prove to the reader, not only through the content but also through the intermedial narrative form itself, that it is necessary to wake up in order not to perish in the artificial world created by man as a “second nature”: a culture that, thanks to technological progress, erases a person from the planet’s map, leaving a free area covered with vegetation waves, where there are no people and cannot be. The pictorial code is dominant in Houellebecq’s narrative, through the prism of which the real world is shown in the novel. It demonstrates the modeling principle toxicity in the artworks based not on a mimetic mechanism but on the technique of simulation, simulacrum.
Die BBC Fernsehserie Sherlock kann, gemäß Elleström‘s Konzept der Transmediation, als eine Version einer oftmals transferierten Geschichte aus dem Krimi-Genre angesehen werden. Dieser Artikel nimmt ...an, dass die intermedialen Reisen von Zeichen, medialen Eigenschaften und multimodalen Texten von verschiedenen Quellen, also über die ›originale‹ Quelle des Buches hinaus, zu einem bestimmten performativen Charakter der Serie beitragen. Während die Serie als ein Medienprodukt wahrgenommen wird, ist es im Falle von Sherlock schwierig dessen Materialität und deren Einfluss auf den Prozess der Semiose zu definieren. Aus diesem Grund schlägt diese Untersuchung, welche auf interdisziplinären Konzepten und Theorien der Intermedialität von Lund und Elleström basiert, ein neues Verständnis von Materialität und intermedialer Transmediation vor.
Contemporary texts in public space offer different forms and functions. Regulative, commercial, transgressive and last but not least pandemic texts use multimodal means in the composition of text ...forms and for the transfer of corresponding information, offers, bids or bans. The spectrum of use is truly extensive. Against this background, the article asks about intermediality in urban texts such as posters and notices, because intermedial relations – mainly known from audiovisual and hypertextual contexts – are efficient strategies of textual effect. The phenomenon of intermediality is explained from the perspective of components, relationships and functions in the text because these three kinds of manifestation can synthetically show the emergence and pragmatic manifestation of intermediality. Individual examples are from June and July 2021 and were photographed in Warsaw, Berlin and Luxembourg.
For the first time since its inception, the European Research Council Advanced Grant has awarded an Italian musicological research project, whose principal investigator belongs to the L-ART/07 ...disciplinary area. Its goal is to reconsider the relationship between poetry and music in a functional perspective, through a systematic examination of the lauda repertoire, from its origins to the early 16th century. This article illustrates the features and peculiarities of this research initiative, in the hope that the recent award may provide new lifeblood for the study of medieval music, which has been increasingly underrepresented and neglected in Italy, and encourage greater attention to European resources within the general field.
The Opera Jawa (2006), directed by Garin Nugroho is an Indonesian film with unique hybridity of art media (music, dance, visual art installation, acting, photography). This study aims to provide an ...overview of photographic ekphrasis’s form, process, and function. This research used a descriptive qualitative method. Data collection was through observation with the note-taking documentation technique. Through intermedial studies, data analysis was carried out using Agnes Petho’s cinematic ekphrasis and photo-filmic theory. The results of the study show that Opera Jawa displays the characteristics of intermedial reference media through cinematic ekphrasis of photography in film. This matter is manifested at the diegetic media level through family photos of the character Setyo-Siti, and the extra-diegetic media through photographic frames introducing film characters. Cinematic Ekphrasis works with exchange strategies and crossing the borders of basic media modalities (material, sensory, space-time, semiotic) from film to photography. Cinematic ekphrasis ultimately forms a metaphor that mediates the experience and knowledge of film audiences toward the target media and the source media. Thus, Opera Jawa, as the target media, can offer its ideology as a result of Sinta Obong’s source media interpretation.
