By Kiene Brillenburg Wurth
Because the previous 20th century, literary genres have traveled throughout magnetic, instant, and digital planes.
Literature may possibly now be something from acoustic poetry and oral functionality to verbal--visual constellations in print and on reveal, cinematic narratives, or digital textualities that variety from hypertext to Flash.
New applied sciences have left their imprint on literature as a paper-based medium, and vice versa. This quantity explores the interactions among literature and screenbased media during the last 3 a long time. How has literature grew to become to display, how have displays undone the tyranny of the web page as a medium of literature, and the way have
screens affected the web page in literary writing? This quantity solutions those questions via uniquely integrating views from electronic literary reviews, at the one hand, and movie and literature experiences, at the other.
"Page" and "screen" are widespread catchwords in either electronic literary stories and movie and literature reports. The members reconsider literary perform on the edges of paper, digital media, and picture. They convey how the emergence of a brand new medium in truth reinvigorates the ebook and the web page as literary media, instead of signaling their
While prior stories during this box were constrained to the digitization of literature by myself, this quantity indicates the continued relevance of movie as a cultural medium for modern literature. Its integrative process permits readers to situate present shifts in the literary box in a much broader, long term point of view.
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Additional resources for Between Page and Screen: Remaking Literature Through Cinema and Cyberspace (Verbal Arts: Studies in Poetics)
For Benjamin, however, it was not just images that flashed by, but also words. Words such as ‘‘medium,’’ which he perhaps would have considered one of these ‘‘mystical terms’’ of which Schlegel wrote: one that would be all the more mystical for its not having ever appeared in Schlegel’s writing. Rather, it was Benjamin who coined the term to designate the ambivalent and silent quintessence of Schlegel’s thought. In so doing, he opens Schlegel to an afterlife. For, as Benjamin writes, a certain ‘‘constancy of a medial connection, a medium reflective of concepts’’ must be presupposed if any event, unpredictable in its singularity, is ever to occur.
Rather, what this word seems to imply is both a state of connectedness and a process of linkage in which connections are made and unmade through leaps and bounds rather than through continuous evolution or unfolding. In short, ‘‘medium’’ here names a process that never stays the same: all that is continual is its transformations and changes, and these are discontinuous: continual discontinuity. It is this discontinuous movement that constitutes the very ‘‘liveliness’’ of the medium: it is ‘‘alive’’ to the extent that it does not stay the same.
Or, to speak in another vocabulary that is both very old and yet also very contemporary, the unreflective use of the definite article to constitute an object of knowledge that is univocally defined and self-identical—this is tantamount to a denial of the network of relations in which every event is inevitably inscribed, and in so doing it overlooks the fact that every ................. ’’ But this ‘‘inter’’—which is anything but simply ‘‘internal’’—implies and entails a certain relation to language.