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Intermediality, in its most general sense, refers to the interaction between different media, be it as a combination of different media in one work of art (e.g. in theatre, film, opera or graphic novels), as a transposition of one medium into another (e.g. in film adaptation) or as the evocation of features from one medium in another (e.g. ekphrasis; the use of filmic techniques in a novel). We will study different theories of intermediality to approach this by no means clear-cut concept and differentiate it from neighbouring terms such as transmediality or intertextuality. More importantly, however, we will use this concept as an analytical perspective to probe the complexities of meaning produced by the interdependence of different media in a variety of works.
The texts listed below are a first suggestion; more material will be added based on participants’ own interests (esp. in the Lektürekurs section of the module). By way of introduction you may want to look at the Handbook of Intermediality, ed. by Gabriele Rippl (De Gruyter, 2015), which is available online through our university library.
Texts:
- William Blake, Songs of Innocence and of Experience (1789/1794) (reproduction of Blake’s illuminated book published by Oxford University Press)
- Brigid Brophy, In Transit (1969)
- Kate Bornstein, Gender Outlaw: On Men, Women and the Rest of Us (1994)
- Edmund de Waal, The Hare with Amber Eyes (2010)
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