Between Page and Screen:

Between Page and Screen

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Title Page and Copyright

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Contents

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pp. ix-x

Acknowledgments

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pp. 11-14

This book could never have been realized without the financial support of Program Committee Transformations in Art and Culture of NWO, the Netherlands Organization for Scientific Research. I particularly thank Ben Peperkamp for his dedicated help and Franz Ruiter for his informed advice. Coming...

Introduction

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pp. 1-24

This book advocates an integrative approach to literature and screenbased media—not only literature and digital media, but also film and television. This comprehensive approach allows us to reassess current remediations of literature in relation to its earlier transformations on screen. Since the early twentieth...

Part One Mediality, Digitality, Subjectivity

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Chapter One Medium, Reflexivity, and the Economy of the Self

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pp. 27-47

In an often-cited footnote to the first chapter of the Critique of Pure Reason, Immanuel Kant defends his use of the word ‘‘aesthetic’’ there to designate ‘‘the a priori principles of sensibility’’ and criticizes another use of the term, namely, the tendency, widespread among the Germans of his day, to employ...

Chapter Two Analog in the Age of Digital Reproduction

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pp. 48-61

In the study of media, the oppositions between the ‘‘mass,’’ ‘‘popular,’’ or ‘‘exoteric’’ and the ‘‘elite’’ or ‘‘esoteric’’ must be treated with a certain suspicion. If they cannot be avoided and must be granted at least a provisional or heuristic function—not least of all because the terrain of culture and media continues...

Chapter Three What If Foucault Had Had a Blog?

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pp. 62-74

This chapter focuses on a particular domain of contemporary media culture that blurs the boundary between the literary and the literal: blogging. I want to explore to what extent practices facilitated by blogging can be interpreted...

Chapter Four Posthuman Selves, Assembled Textualities

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pp. 75-98

In recent years, media theorists and historians have extensively researched the transformative impact of modern communication and recording technologies on the human body and human embodiment: the body as it is normatively projected from the outside in a specific culture and the body....

Part Two Digital Reflexivities

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pp. 99-

Chapter Five Intermediation

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pp. 101-126

Literature in the twenty-first century is computational. Almost all print books are digital files before they become books; this is the form in which they are composed, edited, composited, and sent to the computerized machines that produce them as books. They should, then, properly be considered as electronic....

Chapter Six Net.art: Dysfunctionality and Self-Reflexivity

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pp. 127-143

Most cognitive scientists consider self-reflexivity to be a distinctive feature of the human mind. The concepts of the I, of the self, or of identity are the product of a process by which the mind looks back upon itself and tries to grasp how it relates to the world toward...

Chapter Seven Moving (the) Text

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pp. 144-156

In the field of printed visual poetry, provoking and unavoidable theoretical questions about the digital medium have been raised, because printed visual literature—a corpus of medially hybrid texts at the margins of the literary canon—is familiarly...

Chapter Eight Technology Made Legible

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pp. 157-170

The main goal of this chapter is to propose an analytical framework for the cultural understanding of the group of technologies commonly referred to as ‘‘new’’ or ‘‘digital.’’ I aim to dispel the opacity that still surrounds new technologies and that currently constitutes one of the main obstacles in their conceptualization...

Part Three Intermedial Reflexivities

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pp. 171-

Chapter Nine Cinema as a Digest of Literature

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pp. 173-183

According to a well-known definition introduced by Ricciotto Canudo in 1923, film is the seventh art. The cinema owes this label to its heterogeneous nature. Film is not the seventh art because it is the successor of six other arts, but because, according to Canudo, it is a synthesis of three rhythmic and three....

Chapter Ten Cinematography as a Literary Concept in the (Post) Modern Age

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pp. 184-200

Since long before the invention of cinema, literary writing has been engaged in the mediation of moving images. Indeed, as Sergei Eisenstein once intimated, literary writing has in crucial ways premediated cinematographic techniques, especially that most cinematographic of arts: montage.¹ Montage may be...

Chapter Eleven Novelizing Tati

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pp. 201-215

Novelization, the ‘‘translation’’ of an original movie in a novel, seems to be the perfect victim for adaptation studies.¹ It does not come as a surprise, therefore, that one of the most recent overviews of adaptation and intermediality studies, Linda Hutcheon’s...

Chapter Twelve Copycat-and-Mouse

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pp. 216-226

One of the many effects that the birth of a medium is liable to produce in its medial environment is (predictably, for once) new competition. In the arts, this has especially been the case, in the last century or so, for film and literature; it did not...

Part Four New Literacies, Education, and Accessibility

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pp. 227-

Chapter Thirteen The New Literacies

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pp. 229-240

Given the centrality of the word literacy in this essay’s argument and the sense that its meaning has changed to the point that it must be invoked in the plural (even at the risk of creating a neologism), tracing its historical contours seems a useful place..

Chapter Fourteen Visibility, Blogging, and the Construction of Subjectivity in Educational Spaces

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pp. 241-251

Barko regards the rise of the blogosphere as being part of an ongoing development of free speech and education since the Enlightenment. The dawn of digitization has, for that matter, always carried with it the legacy of Enlightenment ideals of free...

Chapter Fifteen The Singularity of New Media

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pp. 252-266

This chapter arises out of my research on specific forms and uses of new media. The particular form of new media I want to concentrate on here is that associated with open access, and my own involvement with a cultural studies open access archive called..

Notes

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pp. 267-296

Bibliography

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pp. 29-314

Contributors

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pp. 315-318

Index

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pp. 319-330