By Kiene Brillenburg Wurth

Because the previous 20th century, literary genres have traveled throughout magnetic, instant, and digital planes.
Literature may perhaps now be something from acoustic poetry and oral functionality to verbal--visual constellations in print and on reveal, cinematic narratives, or digital textualities that diversity 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 during 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 reviews, at the one hand, and picture and literature experiences, at the other.

"Page" and "screen" are typical catchwords in either electronic literary stories and picture and literature reports. 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 in truth reinvigorates the publication and the web page as literary media, instead of signaling their
impending death.

While past reviews during this box were constrained to the digitization of literature by myself, this quantity indicates the ongoing relevance of movie as a cultural medium for modern literature. Its integrative strategy permits readers to situate present shifts in the literary box in a much broader, long term viewpoint.

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Extra resources for Between Page and Screen: Remaking Literature Through Cinema and Cyberspace (Verbal Arts: Studies in Poetics)

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5 This fact suggests that the mode of being of the medium will never be that of a self-identical or self-present reality, but rather of a kind of virtuality that in principle perhaps can never be realized as such—or rather, whose realizations are marked by a dynamics of self-transformation rather than one of self-fulfillment. In contrast to Fichte, the Romantics do not shy away from affirming the ‘‘absolute’’ dimension of ‘‘reflection,’’ and Benjamin explains this precisely through the notion of medium.

That the appeal of this idea continues up until today, and that it is by no means limited to academic areas such as media studies or the history of ideas, was demonstrated by the 2007 presidential elections in France, where the victor, Nicolas ................. 18266$ $CH1 08-09-12 07:49:59 PS PAGE 28 Medium, Reflexivity, and the Economy of the Self 29 Sarkozy, waged a successful campaign built around the term la rupture—the break. In contrast to the essentially linear notion of a ‘‘break’’ between Old and New, in which the latter is construed as being entirely unburdened and unaffected by the former, I want to suggest that, as the words themselves imply, discontinuities can only be measured in terms of continuities, and that the relationship of old and new—as in ‘‘old’’ and ‘‘new media’’—has to be thought otherwise than according to the paradigm of a mutually exclusive opposition, which, as Nietzsche argued at the beginning of Beyond Good and Evil, constitutes the largely unquestioned matrix of metaphysical identity-thinking itself.

4 Schlegel did not have the one word available to him that, according to Benjamin, more than any other designates the essential characteristics of his own system of thought—namely, of the absolute reflection with which he was primarily concerned. In a footnote, Benjamin suggests that the relation of ‘‘medium’’ to ‘‘reflection’’ is double, entailing a certain ambiguity (Doppelsinn), which, however, upon further examination resolves into a consistent account: For, on the one hand, reflection is itself a medium—by virtue of its constant connectivity, while on the other hand the medium in question is one within which reflection moves itself [sich bewegt]—for the latter, as the absolute, moves itself in and of itself [bewegt sich in sich selbst].

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