FF:CLDS_a27 Intermediality and adaptation - Course Information

CLDS_a27 Intermediality and adaptation

Extent and Intensity

0/0/0. 15 credit(s). Type of Completion: zk (examination).

Teacher(s)

doc. Mgr. Petr Bubeníček, Ph.D. (lecturer)

Guaranteed by

doc. Mgr. Petr Bubeníček, Ph.D.
Department of Czech Literature – Faculty of Arts
Contact Person: Mgr. Veronika Bromová, Ph.D.
Supplier department: Department of Czech Literature – Faculty of Arts

Course Enrolment Limitations

The course is also offered to the students of the fields other than those the course is directly associated with.

fields of study / plans the course is directly associated with

there are 12 fields of study the course is directly associated with, display

Course objectives

The course operates with contemporary state of culture, which is being labelled as visual or multimedia, and in which literature has been granted the status of being only one in the multitude of media. This has given rise to questions, such as the mutual influence of particular media on creation, as well as reception (for ex. to what extent does literature retain its evocative ability in the competitive field of multimedia?). This course is a path to answering such questions, wherein the work of literature is perceived as an intersection of the relations among arts/media. The methodological frame is given by the canonisation of intermediality (Elleström, Rajewski, Wolf, and others), which in turn relies heavily on semiotics, narratology, as well as knowledge contained in film or visual studies. Part of the seminar is an introduction to the theory and prehistory of intermediality. The selection of material to be examined depends highly on the manifestation of particular types of intermediality, and on the examination of their effects in the reception phase. Apart from looking into the most basis intermedial references (for ex. citations of artefacts from other media of art in a text), the focus shall also be put on issues traditionally summarised by comparative literature under the term fabric, and balance shall be provided between the research of sharing and adopting of topics and organised thematic wholes (such as stories), and an insight into their construction and technological aspects (for ex. transmediality of narration as certain fixed structures, visual and literary models of representation of scenery); in addition, an attempt shall be made at identifying the relations among the poetics of the artistic currents of individual arts (visual vs literary impressionism, and the question of style). Adaptation Studies, which used to be at the heart of the research on the transfer of a novel to a movie format, is connected to Intermedia Studies through the principle of transmediation, or transfer of a verbal whole to an audio-visual medium, but also through the principle of intramedial adaptation, or adapting a content for a different genre or audience within the same media (for example the re-telling of antique stories in Shakespeare's plays, the remake of a successful movie etc.) or the aspects of remediation, i.e. the transfer to a technologically more advanced media within the same semiotic system. By examining these transformations in their genesis and impact, the theory of intermediality can offer terminological rooftop for a series of phenomena. The older, or the contemporary alternative branch of Adaptation Studies as a form of genetical study of the relations between literature and film, can, therefore, be perceived as a specification of the intermedial approach that absorbs, above other, the knowledge contained in Film Studies. On the other hand, the methodological plurality of contemporary Adaptation Studies (represented by the works of Kamilla Elliott, Thomas Leitch, Eckart Voigts, Linda Hutcheon etc.) is much more open to the examination of wider social (political, economic, technological) contexts of cultural production and reception, in which an essential role is played by communities of recepients (fans), who are well-organised especially on the internet. Therefore, a significant part belongs to the examination of the influence of new media, not only in the field of representation (multimedia, remediative constelations such as mashups, remixes, etc.), but also in their considerable potential in the relation to social interactions and (des)integrations. Another relationship of Adaptation Studies is therefore the transcendence of the intermedial research towards Media Studies, Cultural Studies, and Sociology.

Learning outcomes

- to enhance their skills in interdisciplinary communication, i.e. the ability to articulate the problems of examining art in a way that these shall be accessible and fruitful for professionals in other fields, as well;
- to create the conditions for reflection upon a work of art not only in the context of a given art but also in the context of culture as "medial discourse", and for argumentation in favour of the specificity of art forms (including those seemingly obsolete or obvious) and the mechanisms of their reception, for instance "the defense of the experiential value of reading".
- The intermedial approach shall equip the student not only with competences for identification and classification of intermedial discourses.
- to create prerequisites for innovative and in-depth interpretation of the works of art, both isolated, in its genetic relations to other works or media, or by a comparative tracking of parallel occurrences that transcend the boundaries of intermediality, such as the cultural construction of identity.

Syllabus

• Intermediality as a set of occurrences and a methodological potential.
• Intermediality and intertextuality.
• Defining the terms: medium, medial product; primary classification of media: modality system.
• Basic range of intermedial relations: intermediality, intramediality, multimediality, transmediality. Transmediation and remediation.
• Medial specificity. Thematization and highlighting.
• Constructive intermediality: storytelling as transmedial structure (verbal storytelling, comic book, arena show etc., according to the course's needs). Between story and scene, storytelling and description: ekphrasis.
• Genetic intermediality: especially multiple transmediation (for example transposition of a canonic work of literature to the form of a comic book or a theatre play).
• Defining the terms: adaptation in a wider field of textual transformations and transmediations (adaptation/appropriation of the written text or painting).
• Adaptation as a choice (digest): literature in film. Faithful and unfaithful adaptations. Types of adaptation: adaptation as a palimpsest (transtextual and dialogical approaches); transcultural adaptation.
• Adaptation as a process (production and reception).
• Adaptation and remediation as part of the media practices of the 21st century.
• Typical approaches: manipulation, parody, remixes, reboots, and mashups.

Literature

• A companion to literature, film, and adaptation. Edited by Deborah Cartmell. First published. Chichester: Wiley-Blackwell, 2012, xiii, 433. ISBN 9781444334975. info
• BENTHIEN, Claudia – WEINGART, Brigitte (eds.), 2014, Handbuch Literatur & Visuelle Kultur. Berlin: De Gruyter
• BODOLA, Ronja – ISEKENMEIER, Guido (eds.), 2017, Literary Visualities. Visual Descriptions, Readerly Visualisations, Textual Visibilities. Berlin: De Gruyter
• BOLTER, Jay David – GRUSIN, Richard, 1998, Remediation. Understanding New Media. Cambridge, Mass: MIT Press
• ELLESTRÖM, Lars, 2010, „The Modalities of Media. A Model for Understanding Intermedial Relations”, in týž (ed.): Media Borders, Multimodality and Intermediality. Basingstoke: Palgrave Macmillan, s. 11-48
• ELLESTRÖM, Lars , 2014, Media Transformation. Basingstoke: Palgrave Macmillan
• FEDROVÁ, Stanislava – JEDLIČKOVÁ, Alice, 2016, Viditelné popisy. Praha: Akropolis
• FEDROVÁ, Stanislava – JEDLIČKOVÁ, Alice, 2008, „Ekfráze: deskripce vs. narativ“, in: A. Jedličková - O. Sládek, eds., Vyprávění v kontextu. Praha: Ústav pro českou literaturu, s. 119–139
• GRISHAKOVA, Marina – RYAN, Marie-Laure, 2010, Intermediality and Storytelling. Berlin et al: de Gruyter
• CHATMAN, Seymour. Příběh a diskurs : narativní struktura v literatuře a filmu. Translated by Milan Orálek. Vyd. 1. Brno: Host, 2008, 328 s. ISBN 9788072942602. info
• JEDLIČKOVÁ, Alice, 2011, „Intermediální poetika příběhu: úvodem“, in Intermediální poetika příběhu. Praha: Akropolis – Ústav pro českou literaturu, s. 5-25
• JEDLIČKOVÁ, Alice. Zkušenost prostoru : vyprávění a vizuální paralely. Vyd. 1. Praha: Academia, 2010, 271 s. ISBN 9788020018298. info
• JEDLIČKOVÁ, Alice, 2010, „Intermediální poetika krajiny“, in Česká literatura v intermediální perspektivě. Praha: Akropolis – Ústav pro českou literaturu, s. 297-306
• LEITCH, Thomas (Ed.). The Oxford Handbook of Adaptation Studies.[2017] | New York : Oxford University Press | xv, 759 pages 0199331006
• LESSING, Gotthold Ephraim. Hamburská dramaturgie ; Láokoón ; Stati : Láokoón (Přít.) : Stati (Přít.). Praha: Odeon, 1980.
• MURRAY, Simone. The adaptation industry : the cultural economy of contemporary literary adaptation. 1. pub. New York: Routledge, 2012, xvi, 253. ISBN 9780415999038. info
• RAJEWSKY, Irina O., 2005 „Intermediality, Intertextuality, and Remediation: A Literary Perspective on Intermediality“, Intermédialités, 6, 2005, s. 43–64
• RAJEWSKY, Irina O., 2002, Intermedialität. Tübingen/Basel: Francke, též heslo in Průvodce po světové literární teorii 20. století. Brno: Host, 2012
• RIPPL, Gabriele (ed.), 2015, Handbook of Intermediality. Literature – Image – Sound – Music. Berlin: De Gruyter
• SANDERS, Julie. Adaptation and appropriation. 1st pub. London: Routledge, 2006, 184 s. ISBN 0415311721. info
• SCHNEIDER, J. – KRAUSOVÁ, L. (eds.), 2008, Vybrané kapitoly z intermediality. Olomouc: Univerzita Palackého v Olomouci
• WOLF, Werner, 2013, Popis jako transmediální modus reprezentace. Praha: Ústav pro českou literaturu AV ČR
• WOLF, Werner, 2011, „Intermedialita: široké pole a výzva literární vědě“, Česká literatura, č. 1, s. 62-85
• LEITCH, Thomas (Ed.). The Oxford Handbook of Adaptation Studies.[2017] | New York : Oxford University Press | xv, 759 pages 0199331006
• SANDERS, Julie. Adaptation and appropriation. Second edition. London: Routledge, Taylor & Francis Group, 2016, xiii, 240. ISBN 9781138828988. info
• MURRAY, Simone. The adaptation industry : the cultural economy of contemporary literary adaptation. 1. pub. New York: Routledge, 2012, xvi, 253. ISBN 9780415999038. info
• VERRONE, William. Adaptation and the avant-garde : alternative perspectives on adaptation theory and practice. New York: Continuum, 2011, vi, 275. ISBN 9781441163523. info
• HUTCHEON, Linda. A theory of adaptation. New York: Routledge, 2006, xviii, 232. ISBN 0415967953. info

Teaching methods

Analysis, interpretation, discussion.

Assessment methods

Written test.

Language of instruction

Czech

Further comments (probably available only in Czech)

Study Materials
The course is taught: in blocks.
Information on the extent and intensity of the course: blok.

• Enrolment Statistics (Autumn 2021, recent)
  
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