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Extending narratological analysis to media as varied as graphic novels, photography, television, musicals, computer games and advertising, the essays gathered in this volume address some of the most fundamental questions raised by the medial turn in narratology: how can narrative meaning be created in media other than language, how do different types of signs collaborate with each other in so-called ?multimodal works?, and what new forms of narrativity are made possible by the emergence of digital media.

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

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).

Abstract
Intermediality, a conflation of different artistic media into one event, is typically considered to have developed in the West. In this paper, we argue that intermediality existed in pre-colonial performance traditions across Africa, where various modes of artistic enactments merged into one were preferred to enactments partitioned into different generic categories. This study identifies multiple artistic genres inherent in Nigerian stand-up art, with specific reference to various sets of Ayo Makun's AY Live wherein we identify the blending of joke-telling, theatre, cinema, song performance and dance within each show. We trace indigenous origins of this conflation of forms by illustrating how delineations between "types" of play, as seen in AY Live, did not exist in indigenous performances. This paper thus, extends research on intermediality and African popular culture by detailing the ways in which Nigerian stand-up enactments are packaged as total entertainment in the manner of pre-existing indigenous performances.

This book is available as open access through the Bloomsbury Open Access programme and is available on www.bloomsburycollections.com While all media are part of intermedial networks, video games are often at the nexus of that network. They not only employ cinematics, embedded books, and in-world television screens for various purposes, but, in our convergence culture, video games also play a vital role in allowing players to explore transmedia storyworlds. At the same time, video games are frequently thematized and remediated in film, television, and literature. Indeed, the central role video games assume in intermedial networks provides testament to their significance in the contemporary media environment. In this volume, an international group of contributors discuss not only intermedial phenomena in video games, but also the intermedial networks surrounding them. Intermedia Games-Games Inter Media will deepen readers' understanding of the convergence culture of the early twenty-first century and video games' role in it.

The following article describes the April 9, 2022 roundtable "Issues of the History and Theory of Intermedial Studies". The event was held on the National Research University Higher School of Economics' St. Petersburg campus under the auspices of the research group "Transmedial Literature Studies". Participants discussed the history and theory of intermediality in three sessions before delving into traditional (opera, cinema, etc.) and modern (video games, rock music, etc.) media and their multimodal nature. Speakers, panelists, and audience members attempted to determine how literature influences the other media and how fruitful it is to use philological methods to analyze other arts. It was revealed during the discussion that "old" and "new" media strive for syncretism not only within the object, but also at the genre, plurimedial, and cognitive levels. Several approaches to intermedial theory were presented, all of which are primarily interdisciplinary.