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SAVE THE DATES: CLIC guest lectures “Intermediality”

  • March 10, 2021

Dear CLIC members,

 

You are warmly invited to this semester’s CLIC guest lectures “Intermediality”. The first lecture by Lars Elleström (Linnæus University) will take place online on Thursday next week at 1 p.m.

Please also already save the date for another guest lecture by Birgit Neumann, which will take place on Thursday, 22 April, at 9 a.m. (online). Below, you can find further information as well as the links through which you can join the lectures online. Thank you for spreading the word among your students and networks.

Kind regards,

Janine Hauthal (CLIC chair)


 

CLIC guest lectures “Intermediality” (2021):

 

Thursday, 18 March 2021, 1 p.m., online:

“Representing the Anthropocene: Transmediation of Narratives and Truthfulness from Science to Feature Film”


Guest lecture by Prof. Dr. Lars Elleström (Linnæus University)

 

The lecture will take place online via Microsoft Teams. To attend the lecture, please go to the following link:

https://teams.microsoft.com/l/meetup-join/19%3ameeting_NWJlY2Q1ZGQtN2Y1MS00Mjc0LTkwMzUtYzE5OWJmZWQzODgw%40thread.v2/0?context=%7b%22Tid%22%3a%22695b7ca8-2da8-4545-a2da-42d03784e585%22%2c%22Oid%22%3a%22d77a22ab-e448-41b0-822b-ed9aea6d2249%22%7d

 

The aim of this paper is to investigate the transmediation of scientific articles to very different media types, meaning that the form and content of scientific communication is transformed into other forms of communication – more precisely works of art or entertainment, as exemplified by the media type feature film. The focus is on transmediation of narratives and truthfulness. Specifically, the discussions centre around narratives of human actions changing the environment on a global scale. Such narratives are vital to scrutinize because they concern the conditions of future human existence. To make the discussions truly relevant, the complex issue of truthfulness in communication is also included. Different media types can be, and are often expected to be, truthful in different ways, and because of media differences it may well be the case that narratives and their truthfulness are corrupted in transmediation. Whereas communication in general has many widely different purposes, its function is sometimes essentially to get things right – to represent certain things truthfully. Therefore, it is imperative to explore the capacities of different media types to narrate truthfully. The paper starts with explications of some of the core concepts of the investigation – transmediation, narration and truthfulness – and continues with a discussion of general media differences between scientific articles and feature films. This is followed by a brief analysis of a scientific article (“The ‘Anthropocene’”, published by Paul J. Crutzen and Eugene F. Stoermer in 2000), a somewhat longer examination of the transmediation of this article to a feature film (The Day after Tomorrow, directed by Roland Emmerich and released in 2004) and a conclusion.

 

Lars Elleström is professor of Compara­tive Literature at Linnæus University, Sweden. He presides over the Linnæus University Centre for Intermedial and Multimodal Studies and chairs the board of the International Society for Inter­medial Studies (http://isis.digitaltextualities.ca). Elleström has written and edited several books, including Divine Madness: On Interpreting Literature, Music, and the Visual Arts Ironically (Bucknell UP, 2002), Media Borders, Multimodality and Intermediality (Palgrave Macmillan, 2010), Media Transformation: The Transfer of Media Charac­teristics among Media(Palgrave Macmillan, 2014), Transmedial Narration: Narratives and Stories in Different Media(Palgrave Macmillan, 2019), Trans­mediations: Communication Across Media Borders (Routledge, 2020) and Beyond Media Borders: Intermedial Relations among Multimodal Media (Palgrave Macmillan 2021). He has also published numerous articles on poetry, intermediality, semiotics, gender, irony and communication. Elleström’s recent publications, starting with the article “The Modalities of Media: A Model for Understanding Intermedial Relations” (2010), have explored and developed basic semiotic, multimodal, and intermedial concepts aiming at a theoretical model for understanding and analyzing interrelations among dissimilar media.

 

 

***

Thursday, 22 April 2021, 9 – 10am, online:
“Jackie Kay's Intermedial Poetics – Disjunctive Connectivity and Plural Identities”

Guest lecture by Prof. Dr. Birgit Neumann (Heinrich Heine University of Duesseldorf)

 

The lecture will take place online via Canvas/BigBlueButton. To attend the lecture, please go to the following link: https://canvas.vub.be/courses/20486/conferences/21160/join

 

  

 

Jackie Kay’s work is characterised by an intermedial aesthetics that brings literature into a productive and sometimes conflictual relationship with images. My talk engages with word-image configurations in her autobiographically inspired works Red Dust Road (2010) and Fiere (2010), showing how these configurations make available new symbolic forms that accept ambiguity, conflict and plurality. Visual modes of writing engender pluralised and open signifying practices, which affect both the orders of the sayable and visible and propel modes of understanding that thrive on disjunctive connectivity, entanglement and exchange. Rigorously undoing what Jacques Derrida calls Western heliopolitics (Derrida 1978, 90), both Red Dust Road and Fiere accentuate how vision and the sense of identification it affords always rely on their so-called others. But while Red Dust Road is largely concerned with photographs and the family album, Fiere, the ‘lyric counterpart’ to the autobiographical narrative, primarily invests in ekphrastic descriptions and revisions of paintings. I am particularly drawn to the question of how the material otherness inherent in these visual media is mobilised to carve out new spaces for black identities in Britain and to articulate “the claim for the right to look” (Mirzoeff 2011, 24). In Kay’s work, re-membering and re-visioning the visual past becomes future-oriented, a means of imaging new modes of transcultural connectivity and plural identities. What becomes clear is how word-image configurations may serve as creative interventions within existing orders of knowledge, energetically restructuring the relationships between visuality, recognition and identity. 

 

Derrida, Jacques. Writing and Difference. Trans. Alan Bass. London/Henley: Routledge & Kegan Paul, 1978. 

Mirzoeff, Nikolas. The Right to Look: A Counterhistory of Visuality. Durham: Duke University Press, 2011. 

Neumann, Birgit & Gabriele Rippl. Intermedial Aesthetics: Verbal-Visual Configurations in Postcolonial Literatures. London: Routledge, 2020.

 

Birgit Neumann is Professor of English Literature and Anglophone Studies at the Heinrich Heine University of Duesseldorf and member of several international research networks. Her research is dedicated to the study of the poetics and politics of Anglophone literatures, to world literatures and transcultural exchange, to postcolonial ecocriticism as well as to intermedial configurations in postcolonial fiction. She is author, co-author and editor of a range of books and articles that explore post/colonial modes of articulation in literature and film. Recently, she has authored, together with Gabriele Rippl, Verbal-Visual Configurations in Postcolonial Literature: Intermedial Aesthetics (Routledge, 2020).