Beate Schirrmacher – författare

Intermedial Studies provides a concise, hands-on introduction to the analysis of a broad array of texts from a variety of media – including literature, film, music, performance, news and videogames, addressing fiction and non-fiction, mass media and social media. The detailed introduction offers a short history of the field and outlines the main theoretical approaches to the field. Part I explains the approach, examining and exemplifying the dimensions that construct every media product. The following sections offer practical examples and case studies using many examples, which will be familiar to students, from Sherlock Holmes and football, to news, vlogs and videogames. This book is the only textbook taking both a theoretical and practical approach to intermedial studies. The book will be of use to students from a variety of disciplines looking at any form of adaptation, from comparative literature to film adaptations, fan fictions and spoken performances. The book equips students with the language and understanding to confidently and competently apply their own intermedial analysis to any text.

Intermedial Studies provides a concise, hands-on introduction to the analysis of a broad array of texts from a variety of media – including literature, film, music, performance, news and videogames, addressing fiction and non-fiction, mass media and social media. The detailed introduction offers a short history of the field and outlines the main theoretical approaches to the field. Part I explains the approach, examining and exemplifying the dimensions that construct every media product. The following sections offer practical examples and case studies using many examples, which will be familiar to students, from Sherlock Holmes and football, to news, vlogs and videogames. This book is the only textbook taking both a theoretical and practical approach to intermedial studies. The book will be of use to students from a variety of disciplines looking at any form of adaptation, from comparative literature to film adaptations, fan fictions and spoken performances. The book equips students with the language and understanding to confidently and competently apply their own intermedial analysis to any text.

Examining musical instrument destruction through an ecological and intermedial lensMusical instruments are typically seen as objects both used and maintained with ritualistic care. But what happens when they’re tossed from homes in mudslides, burned during ecstatic parties, or waterlogged by pop stars in viral videos—and how do these elemental interactions transform the way we see and play instruments? Piano Decompositions asks what happens when we let go of controlling musical instruments. What kind of meanings start to sound when instruments are moved out of the protected cultural space and engage with their surrounding elements? Heidi Hart and Beate Schirrmacher trace the history of destroyed and decaying pianos, both sorting them within the realm of artistic violence against instruments and following their return journeys into water, sand, and soil. They parse the artistic vision of Annea Lockwood, whose iconic burning, drowning, and decaying Piano Transplants presented a novel means of drawing attention to the increasing threats of climate change in the 1960s and ’70s. Turning to instruments made from found materials and others played collaboratively with wind and water, they demonstrate how human sound making is entangled in the more-than-human world. Showing how the piano can transform conversations around the Anthropocene and environmental destruction, Hart and Schirrmacher find the instrument to be a potent creative and ecological force, a medium to connect with environments in an explorative, attentive way. Piano Decompositions unearths new ways to relate our concepts of curiosity, pleasure, and music to the natural world. Retail e-book files for this title are screen-reader friendly with images accompanied by short alt text and/or extended descriptions.

Examining musical instrument destruction through an ecological and intermedial lensMusical instruments are typically seen as objects both used and maintained with ritualistic care. But what happens when they’re tossed from homes in mudslides, burned during ecstatic parties, or waterlogged by pop stars in viral videos—and how do these elemental interactions transform the way we see and play instruments? Piano Decompositions asks what happens when we let go of controlling musical instruments. What kind of meanings start to sound when instruments are moved out of the protected cultural space and engage with their surrounding elements? Heidi Hart and Beate Schirrmacher trace the history of destroyed and decaying pianos, both sorting them within the realm of artistic violence against instruments and following their return journeys into water, sand, and soil. They parse the artistic vision of Annea Lockwood, whose iconic burning, drowning, and decaying Piano Transplants presented a novel means of drawing attention to the increasing threats of climate change in the 1960s and ’70s. Turning to instruments made from found materials and others played collaboratively with wind and water, they demonstrate how human sound making is entangled in the more-than-human world. Showing how the piano can transform conversations around the Anthropocene and environmental destruction, Hart and Schirrmacher find the instrument to be a potent creative and ecological force, a medium to connect with environments in an explorative, attentive way. Piano Decompositions unearths new ways to relate our concepts of curiosity, pleasure, and music to the natural world. Retail e-book files for this title are screen-reader friendly with images accompanied by short alt text and/or extended descriptions.

This book offers an intermedial approach to truthful communication. Bringing together a wide range of media types and interactions from a transmedial perspective, the volume maps out how truth claims are made in different contexts, and how different media promise to create a truthful perception of the social world.  The flexible communicative possibilities of digital technology have a significant impact on our perception of truth and truthfulness of communication. Bot accounts, deep fake videos, or AI technology draw attention to how reliable communication is destabilized and questioned. In this unstable climate, binaries such as true/false, authentic/fake and fiction/facts are difficult to apply. Instead, it is crucial to investigate how media products construct truthfulness in different ways. The volume brings together various media types and contexts such as press conferences, documentaries and mockumentaries, images in magazines and on social media, horror movies, biopics, and educational games and explores how truth claims, authenticity discourses, and knowledge communication are established and how they collide, merge, or are confused.This is an open access book.

This book offers an intermedial approach to truthful communication. Bringing together a wide range of media types and interactions from a transmedial perspective, the volume maps out how truth claims are made in different contexts, and how different media promise to create a truthful perception of the social world.  The flexible communicative possibilities of digital technology have a significant impact on our perception of truth and truthfulness of communication. Bot accounts, deep fake videos, or AI technology draw attention to how reliable communication is destabilized and questioned. In this unstable climate, binaries such as true/false, authentic/fake and fiction/facts are difficult to apply. Instead, it is crucial to investigate how media products construct truthfulness in different ways. The volume brings together various media types and contexts such as press conferences, documentaries and mockumentaries, images in magazines and on social media, horror movies, biopics, and educational games and explores how truth claims, authenticity discourses, and knowledge communication are established and how they collide, merge, or are confused.This is an open access book.

Obwohl Musik bereits in der Blechtrommel (1959) eine unüberhörbare Rolle spielt, ist die Bedeutung der Musik für die Prosa von Günter Grass lange unbeachtet geblieben. Dabei war Grass in den 1950ern nicht nur Mitglied einer Jazzband; die konkrete Auseinandersetzung mit Musik zieht sich durch sein Gesamtwerk. Zur Beschreibung seiner Erzählstrukturen werden häufig musikalische Begriffe herangezogen. Die vorliegende Dissertation untersucht deshalb, welche intermedialen Bezüge zur Musik sich in Günter Grass’ Prosa feststellen und wie diese sich beschreiben lassen. Ausgehend von der Einsicht, dass Intermedialität erst durch gemeinsame Eigenschaften der beteiligten Medien möglich ist, wird eine Methode erarbeitet, die von der transmedialen Gemeinsamkeit von Literatur und Musik ausgeht. Am Beispiel von Die Blechtrommel (1959), Ein weites Feld (1995) und Im Krebsgang (2002) wird gezeigt, wie die Steigerung von Repetitivität und Kontrast, Simultanität und Performativität die assoziative Verbindung des Textes mit Musik ermöglichen. Dieser Bezug zur Musik ist kein Selbstzweck. Unter Ausnutzung der transmedialen Gemeinsamkeiten wird der Hinweis auf Musik zur Hervorhebung von Grass’ poetologischen Konzepten Vergegenkunft und Gegenständlichkeit verwendet. Intermediale Bezüge zur Musik erscheinen darüber hinaus als Teil einer grundlegenden und vielfältigen Intermedialität in Werk und Arbeitsprozess von Günter Grass.