By Kiene Brillenburg Wurth
Because the past 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 over the last 3 many years. How has literature became to reveal, 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 experiences, at the one hand, and movie and literature reports, at the other.
"Page" and "screen" are widely used catchwords in either electronic literary experiences and movie and literature reviews. The participants re-examine literary perform on the edges of paper, digital media, and picture. They express how the emergence of a brand new medium actually reinvigorates the e-book and the web page as literary media, instead of signaling their
While earlier reports during this box were limited 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 wider, long term point of view.
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Extra resources for Between Page and Screen: Remaking Literature Through Cinema and Cyberspace (Verbal Arts: Studies in Poetics)
Crucial to understanding this dimension is the competition between film- and paper-based fiction in the twentieth century, and the ambitions of the former to position itself as an art independent of paper-based fiction. Yet what is, and has been, the fate of the script in such ambitions? If film is displayed as an autonomously visual medium—a display reinforced by the (critical) decision of many Nouvelle Vague directors to work on the basis of improvisation rather than a written scenario—what would be the position of the film script and its own aspirations toward a status as art?
Such disconnections thus are determined (in the German sense of bestimmt— that is, defined) as discrete, singular events. As a medium of reflection, thinking is thus distinguished from the Fichtean antithetics of Ego and Non-Ego, not in order to be dissolved into a higher continuum, but to subsist as the connectedness of discreet singularities—a connectivity that does not simply absorb the singularities into a more comprehensive synthesis. In this context, early on his dissertation Benjamin cites a name that will return toward its end to frame his discussion of the Romantic concept of criticism and at the same time to transcend it.
The decisive difference, however, between the Jena Romantics and Ho¨lderlin, as already suggested, is that the former still try to construe this ‘‘as such’’ of the self-separating medium as ultimately a process of Self-fulfillment, whereas Ho¨lderlin, as in his poetic commentary to Pindar alluded to by Benjamin, makes the ‘‘infinite exactness’’ of the ‘‘connection’’ dependent not on a Self but on a process of circumscribing in which the first person singular is not effaced but rather ‘‘lives itself out’’ (hinaus mich lebe).