By Werner Wolf, Walter Bernhart
This ebook is either a contribution to an interdisciplinary research of literature and different media and a pioneering program of cognitive and frame-theoretical techniques to those fields. within the temporal media a privileged position for the coding of cognitive frames are the beginnings whereas in spatial media actual borders take over many framing services. This quantity investigates types and features of such framing areas from a transmedial standpoint by way of juxtaposing and evaluating the framing power of person media and works. After an introductory theoretical essay, which goals to explain simple suggestions, the amount provides eighteen contributions by way of students from a number of disciplines who take care of person media. the 1st part is devoted to framing in or during the visible arts and comprises discussions of the illustrations of medieval manuscripts, the perform of framing images from the center a while to Magritte and modern American paintings in addition to framings in printmaking and structure. the second one half bargains with literary texts and levels from reports concentrated on framings in body tales to essays focussing at the use of paratextual, textual and non-verbal media within the framings of classical, medieval and glossy German and American narrative literature; furthermore, it comprises reports on defamiliarized framings, e.g. via Julio Cortazar and Jasper Fforde, in addition to an essay on end-framing practices. Sections on framings in movie (including the trailers of Tolkien's The Lord of the jewelry) and in song (operatic overtures and Schumann's piano items) offer views on additional media. the quantity is of relevance to scholars and students from a variety of fields: intermedia reports, cognitive methods to the media, literary and picture reports, heritage of paintings, and musicology
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Sample text
For this (painted) picture frame is at the same time a playful meta-referential meditation on the convention (and expectation) of framing pictures and the most important part of the trompe-l’œil painting itself, which was exhibited without a wooden frame (see Stoichita 1993/1998: 308). Another noteworthy function is the context-centred function. Framings frequently not only mark the inside/outside border between artefact and context (notably in pictorial framings and in the initial and terminal framings of temporal artefacts), but also help to interpret an artefact by creating a ‘bridge’ between its inside and its outside or context57.
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