In the forthcoming issue of the journal Syn-Thèses, we propose to address issues of intermediality in audiovisual and interactive contexts. Intermedial studies stem from an interest in “interaesthetic” phenomena (Bruhn and Gjelsvik 2018). The concept has a closer connection with aesthetics and “the idea of ‘sister arts’” (Pethö 2018). Pethö, drawing on the Renaissance concept of paragone, Lessing’s famous Laocoön essay (1767), and the Wagnerian ideal of Gesamtkunstwerk (1849)—that is, a total work of art—explains that this rivalry between different art forms is one of the precursors of intermediality. The idea of the mixing of art forms was also a necessary criterion for the so-called historical avant-gardes of the beginning of the twentieth century since it helped them “achieve the highest artistic and political/spiritual goals” (Bürger 1984, quoted in Bruhn and Gjelsvik 2018). As a matter of fact, avant-garde artists proclaimed that this mixing of art forms would be very beneficial for the advancement of art and thus were fervent in engaging in intermedial experiments (Kostopoulou 2023).
In Punctum’s special issue, we investigate this open relationship through articles that examine cultural transposition, intermediality, subtitling, adaptation, literary translation, multimodality, and all those interconnected cultural phenomena that comprise the actual intersemiotic network of cultural texts
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