Bibliografías temáticas / Transmediation

Literatura académica sobre el tema "Transmediation"

Autor: Grafiati
Publicado: 4 de junio de 2021
Última modificación: 19 de febrero de 2022

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Artículos de revistas sobre el tema "Transmediation"

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Peña, Ernesto y Kedrick James. "Raw Harmonies: Transmediation through Raw Data". Leonardo 53, n.º 2 (abril de 2020): 183–88. http://dx.doi.org/10.1162/leon_a_01635.

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In this paper, the authors present the initial findings from explorations on transformation patterns of data in raw format when crossing or transmediating directly (i.e. unaffected by any other form of codification) between audio and visual media. These patterns have allowed the authors to engage in the production of transmediatic artifacts with some degree of control and agency, facilitating purposeful applications of transmediation. The products of such practices will enable a form of literacy, an aesthetic means to identify in visual media artifacts those patterns that could transmediate into useful or appealing sonic artifacts and vice versa.
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Hosterman, Alec R. "Semali on ‘Transmediation’". American Journal of Semiotics 21, n.º 1 (2005): 140–43. http://dx.doi.org/10.5840/ajs2005211/423.

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Cheong, Pauline Hope y Chris Lundry. "Prosumption, Transmediation, and Resistance". American Behavioral Scientist 56, n.º 4 (21 de marzo de 2012): 488–510. http://dx.doi.org/10.1177/0002764211429365.

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DEWDNEY, ANDREW. "Transmediation: Tracing the social aesthetic". Philosophy of Photography 2, n.º 1 (20 de septiembre de 2011): 97–113. http://dx.doi.org/10.1386/pop.2.1.97_1.

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Barratt-Peacock, Ruth y Sophia Staite. "Nostalgic transmediation: A not-so-final fantasy? Ichigo’s Sheet Music online platform as an object network of creative practice". Australasian Journal of Popular Culture 9, n.º 2 (1 de septiembre de 2020): 179–93. http://dx.doi.org/10.1386/ajpc_00026_1.

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Using the music of the Final Fantasy game series as our case study, we follow the music through processes of transmediation in two very different contexts: the Netflix series Dad of Light and music transcription forum Ichigo’s Sheet Music. We argue that these examples reveal transmediation acting as a process of ‘emptying’, allowing the music to carry its nostalgic cargo of affect into new relationships and contexts. This study’s theoretical combination of transmediation with Bainbridge’s object networks of social practice frame challenges normative definitions of nostalgia. The phenomenon of ‘emptying’ we identify reveals a function of popular culture nostalgia that differs from the dominant understanding as a triggering of generalized emotional longing for (or the desire to return to) the past. Instead, this article uncovers a nostalgia that is defined by personal and communal creative engagement and highlights the active and social nature of transmediated popular culture nostalgia.
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Magee, Paula A. y Jane H. Leeth. "Using Transmediation in Elementary Preservice Teacher Education". Journal of Adolescent & Adult Literacy 58, n.º 4 (27 de octubre de 2014): 327–36. http://dx.doi.org/10.1002/jaal.364.

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Darvin, Ron. "Creativity and criticality: Reimagining narratives through translanguaging and transmediation". Applied Linguistics Review 11, n.º 4 (26 de noviembre de 2020): 581–606. http://dx.doi.org/10.1515/applirev-2018-0119.

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AbstractThis paper asserts that creativity and criticality are interlocked constructs that converge through the shared impetus of challenging existing norms, practices and relations of power. Drawing on data from a student YouTube adaptation of a play about Filipino migrants from a literature textbook, it examines how high school students in the Philippines use their linguistic, multimodal and digital resources to retell a prescribed narrative from their own perspectives and contexts. By conducting a multimodal discourse analysis of this video, this paper demonstrates how these youth engage with translanguaging and transmediation, reshaping the meanings of the primary text while imagining spaces like Canada from their own fixed locations in the Philippines. Through these creative and critical processes, they are able to challenge the boundaries of both word and world, and assert their own voices in the discourse of migration and globalization.
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Purnama, SF Lukfianka Sanjaya y SF Luthfie Arguby Purnomo. "CLASSIFYING VIDEO GAME TRANSLATION STUDIES FROM TRANSTEXTUALITY PERSPECTIVES". LEKSEMA: Jurnal Bahasa dan Sastra 4, n.º 1 (20 de junio de 2019): 29. http://dx.doi.org/10.22515/ljbs.v4i1.1635.

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This paper attempts to classify video game translation(VGT)studies from the perspectives of transtextuality, Genette’s term referring to the relationships a text weaves with other texts (1992). In regard to VGT studies, applying transtextuality signifies the textuality of video game and its transtextual relationship with other texts. Transtextuality is linear to the connectionist perspectives Globalization, Internationalization, Localization, and Translation (GILT) holds, a conventional concept that houses VGT, emphasizing on the intra and inter relationships between the four elements of GILT. This necessity to consider VGT as a part of GILT is the linearity to which transtextuality conforms VGT studies. Applying transtexuality, VGT studies are classified into transversality, transcreation, transfiguration, and transmediation. Transversalityreferstothestudiesaimed at applying translation theories in VGT.Transcreation refers to VGT studies that focus on cultural issues in relation to video game mechanics. Transfiguration refers to VGT studies that incorporate game studies as a response to certain VGT issues. Transmediation refers to VGT studies that focus on the influence of video game media toward the translation aspects of video games. These four classifications construct a quadrant which opens probabilities for VGT studies to depart from the combination of each element.
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Siegel, Marjorie. "More than Words: The Generative Power of Transmediation for Learning". Canadian Journal of Education / Revue canadienne de l'éducation 20, n.º 4 (1995): 455. http://dx.doi.org/10.2307/1495082.

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Aceti, Lanfranco. "Transmediation as Betrayal: The Case of the Leonardo Electronic Almanac". Leonardo Electronic Almanac: Mish Mash 17, n.º 1 (agosto de 2011): 4–5. http://dx.doi.org/10.5900/su_9781906897116_2011.17(1)_4.

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Tesis sobre el tema "Transmediation"

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Batchelor, Katherine Elizabeth. "Investigating Transmediation in the Revision Process of Seventh Grade Writers". Kent State University / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=kent1404761683.

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Wu, Zihui. "The Transmediation of Journey to the West into a board Game". Digital WPI, 2016. https://digitalcommons.wpi.edu/etd-theses/457.

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China is a cultural and economic giant in today’s world, but has been somehow misunderstood in the past decades . With more and more educational and economic communication between China and the western world, more non-Chinese people find a need to know China. This project has created a board game based on Journey to the West, a 2000-page novel which is one of the four great classical novels in China. The project seeks to transmit some of the cultural aspects of China, stimulate people’s interest in China through simple gameplay. The ultimate goal of this project was to develop a game which was fun for friends and families to play together, as well as to offer a relaxing and pleasant play space for people to experience a different culture without extensive reading. The paper explains the research that has been done to realize the project, Journey to the West: the Board Game, and the production expectation. A study has been done behind the project explored the game’s mechanics, appeal and effectiveness. The paper also details the results of this study to determine if players of this board game learn about Chinese culture more than readers of the book.
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3

Tolinsson, Sara y Hanna Eriksson. ""Help, everybody's struggeling with what this is?" : En innehållsanalys av Diane Sawyers framställning av Bruce Jenner". Thesis, Högskolan för lärande och kommunikation, Högskolan i Jönköping, HLK, Medie- och kommunikationsvetenskap, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:hj:diva-29369.

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The American society is dominated by a heterosexual powerstructure with norm-filled social values. It is difficult for norm-breaking humans who live outside of the gender stereotypical social model, this includes the group of transgenders. The renowned olympic decathlon athlete Bruce Jenner, also known from the TV-series Keeping Up with the Kardashians, came out as a transgender woman in April, 2015, which aroused a great news reporting. This is a qualitative content analysis with the aim to examine Diane Sawyer’s depiction of Bruce Jenner during the interview in the TV-show ABC 20/20. Sawyer is a prominent mediaprofile in the USA and got sole rights to make the last interview with Bruce Jenner before he transitioned to become a woman. We based our method out of the symptomatic reading to understand the underlying message of the questions asked in the interview and have used Selby and Cowdery's three-stage model as an analysis tool when we created our analysis framework. Furthermore, we have applied this analysis schedule on selected key scenes that we transcribed from the interview in order to get answers to our thesis questions. The result of our thesis is that Sawyer has steered the questions asked in the interview, how they are formulated, and through it controlled the depiction of Jenner in the program. Sawyer questions to Jenner was sometimes chareterized by ignorance and prejudice for transgender, however the overall impression of the interview is that she depicted Jenner in a way that was positive and advantageous for him.
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4

Vásquez, Guillermo. "Transmediación en la televisión peruana". Conexión, 2016. http://repositorio.pucp.edu.pe/index/handle/123456789/114690.

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Transmedia storytelling is gaining increasingly more presence in narrations thatpeople access through different media or platforms. In fact, this is not unawareto the Peruvian’s television contents in which the transmedia stories have startedappearing though with noticeable shyness and almost in proof-period, becausethe audience is still unfamiliar to the new tendency. In this article, an incipientreferent of transmedia in the public Peruvian television is examined. Theexposition is centered on the characteristics of the most recent manifestationsof the phenomenon.
Las narrativas transmedia son cada vez más constantes en los relatos a los quese tiene acceso desde diferentes medios o plataformas. Esto no es ajeno a loscontenidos televisivos en el Perú, donde lo transmediático ha empezado a tenerpresencia, aunque con marcada timidez y casi en un período de prueba hastapoder afianzarse y contar también con un público más acostumbrado a esta nueva dinámica. En este artículo se explica un primer referente de la transmediación en la televisión de señal abierta y se exponen las características de las manifestaciones más recientes de este fenómeno en dicho medio.
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Penner, Tomaz Affonso. "O universo narrativo de Latitudes: um estudo de caso das estratégias de transmidiação em uma produção ficcional brasileira". Universidade de São Paulo, 2016. http://www.teses.usp.br/teses/disponiveis/27/27152/tde-21032017-111021/.

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A dissertação ora apresentada teve como objetivo central identificar e sistematizar as estratégias de transmidiação desenvolvidas no âmbito da produção da obra ficcional Latitudes (2013, 2014), um projeto transmídia veiculado em três plataformas diferentes: YouTube, televisão e cinema e, respectivamente, em três formatos: websérie, série de TV e longa metragem. Trata-se de pesquisa que utiliza a técnica de estudo de caso para analisar o surgimento de obras ficcionais produzidas para distribuição em diversas plataformas O trabalho discute o surgimento de novos gêneros e formatos relacionando-os ao contexto da hipertelevisão (Scolari, 2014) e da distribuição de conteúdos em multiplataformas, que marca a experiência estética audiovisual na contemporaneidade, proporcionando novas formas de produção, consumo e fruição. Também são discutidos modelos de negócio na cultura da convergência (Jenkins, 2008), nomeadamente no YouTube - repositório para a websérie Latitudes -, a partir da distribuição e consumo cada vez mais pautados em plataformas streaming, que ganham espaço frente à grade horária tradicional televisiva, no modelo broadcast. Apoiados nos estudos de linguagem de Bakhtin (2003) e em discussões sobre gêneros feitas por Barthes (2009), Eco (1994) e Mungioli (2012), os resultados das análises sugere uma aproximação entre os gêneros ficcional e documental na versão seriada exibida na televisão. Em termos de estratégias de transmidiação desenvolvidas em Latitudes, a análise revelou que a obra incorpora modelos de distribuição e consumo que se apresentam como tendências atuais na produção audiovisual brasileira. Quanto à construção narrativa, observamos como principais resultados o uso das estratégias de propagação (Fechine, 2013) e de reassistibilidade (Mittel, 2011) para o estabelecimento da transmidiação em Latitudes. Também incorporamos às discussões a análíse de estratégias de product placement, a partir de inserções roteirizadas, como modelo de capitalização eficaz em produtos audiovisuais que contam com a internet como principal veículo de distribuição.
The present study aims to identify and systematize transmediation strategies developed by the producers of the series Latitudes (2013, 2014), a project distributed in three different platforms: internet (YouTube), television and cinema (so, in three formats: webseries, TV series and film). The work discusses the emergence of new genres and formats relating them to the context of hipertelevision (Scolari, 2014) and the multi-platform content distribution, which marks the audiovisual experience in contemporary culture and ensures more autonomy and agency to the audiences (Castells, 2009). We also discuss the new business opportunities in the convergence culture (Jenkins, 2008), particularly on YouTube, which works as a repository for the webseries Latitudes, with the distribution and consumption increasingly guided by streaming platforms, that are gaining ground against the traditional television broadcast model. It was also possible to see that these new dynamics, supported by the Internet, create new production processes. Based on the Language theory of Bakhtin (2003) and reflections on genres using Barthes (2009), Eco (1994) and Mungioli (2012). Through these analyzes, we see a connection between the fictional and documentary genres in the television version of our empirical object. After these advances, we reach the stage of systematization of transmediation strategies developed in Latitudes, realizing that it incorporates different kinds of distribution and consumption that are presented as trends in the Brazilian audiovisual production. As main results, we identified propagation strategies (Fechine, 2013), and the use of rewatchability (Mittel, 2011) for the establishment of transmidiation in Latitudes. We also add to the discussion the strategy of product placement (Miller, 2014), through scripted insertions, as an effectively capitalization model for audiovisual products that rely on the internet as a primary vehicle of distribution.
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Resende, Vitor Lopes. "A TV em convergência: Social TV e transmidiação nas novelas Geração Brasil e Império". Universidade Federal de Juiz de Fora, 2015. https://repositorio.ufjf.br/jspui/handle/ufjf/1307.

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A Cultura da Convergência vem modificando muitos processos comunicacionais e promovendo desafios aos profissionais dessa área. Vislumbramos um cenário em que todos podem ser consumidores e produtores, gerando assim um conjunto de conhecimento que Pierre Levy denominou de Inteligência Coletiva. O interesse pela participação se dá à medida em que os indivíduos percebem que podem construir conhecimento relevante para seus interesses a partir da associação a outras pessoas. Tal fenômeno é identificado como Cultura Participativa. No entrelaçamento desses três conceitos, presenciamos o surgimento de novos fenômenos comunicacionais. Buscando a compreensão dos efeitos da convergência para a televisão, dois desses fenômenos constituem o foco desse trabalho: a transmidiação e a Social TV. A primeira engloba estratégias que expandem o universo ficcional para outras mídias, a partir da narrativa central. Já a segunda, compreende um movimento dos próprios consumidores da programação televisiva que consiste em comentá-la ao vivo, enquanto é transmitida. Para observarmos como transmidiação e Social TV se comportam no cenário brasileiro, escolhemos duas telenovelas da Rede Globo de Televisão para análise dos dois fenômenos: Geração Brasil e Império. Partindo do levantamento de dados das duas produções, buscamos entender as motivações que geram o engajamento do público com estratégias que o convidam a se tornar parte da programação à qual assiste, bem como as razões que o levam a repercutir o que estão assistindo.
The Convergence Culture has been modifying many communicational processes and promoting challenges for professionals in this area. We foresee a scenario in which everyone can be consumers and producers, thus generating a set of knowledge that Pierre Levy called Collective Intelligence. The interest in participation happens in the way that individuals realize that can build knowledge relevant to their interests from the association to other people. This phenomenon is identified as Participatory Culture. When we have the meeting of these three concepts, we see the emergence of new communicational phenomena. Looking for an understanding of the effects of convergence to the TV, two of these phenomena are the focus of this work: transmediation and Social TV. The first covers strategies that expand the fictional universe for other media, from the central narrative. The second say about a movement of the television consumers that consists of comment on it live, as it is transmitted. Looking how transmediation and Social TV behave in Brazilian scenario, we chose two soap operas of Rede Globo for the analysis of two phenomena: Geração Brasil and Império. Based on the survey data of the two productions, we sought to understand the motivations that lead to the engagement of the public with strategies that invite you to become part of the programming to which assists, as well as the reasons that lead to pass on what they are watching.
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CHACEL, Marcela Costa da Cunha. "Audiência transmídia: uma proposta de conceituação a partir das telenovelas da Rede Globo". Universidade Federal de Pernambuco, 2016. https://repositorio.ufpe.br/handle/123456789/17437.

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O cenário e convergência midiática e de cultura participativa impõe novos modos de produção, distribuição e recepção dos conteúdos televisivos, dando lugar a fenômenos como a transmidiação. Resultado da inserção da televisão em uma cadeia criativa multiplataforma, a transmidiação remete ao conjunto de ações por meio das quais conteúdos complementares e/ou associados aos programas televisivos são ofertados em outras mídias, demandando dos seus espectadores um consumo articulado de tudo que lhe é ofertado como parte de estratégias de engajamento. O consumo articulado desses conteúdos distribuídos nas distintas mídias forja novos comportamentos do espectador e institui o que aqui descreveremos como audiência transmídia, um tipo de audiência que não pode ser aferida pelo acompanhamento do consumidor em cada uma das plataformas isoladamente, já sua configuração depende da articulação que este promove entre os conteúdos no ato mesmo do consumo midiático. A postulação dessa audiência transmídia foi apoiada na observação do consumo de telenovelas, o gênero televisual em que mais há maior investimento em ações transmídias na Rede Globo, a principal emissora de televisão do País, razão pela qual é objeto de estudo da presente pesquisa. Com base em levantamento bibliográfico, problematizamos o próprio conceito de audiência, inventariamos e analisamos os métodos de mensuração, apontando seus limites frente a fenômenos ancorados na cultura participativa e indicando a necessidade de incorporação nas ferramentas disponíveis da concepção de uma audiência transmídia. Também apoiamos nosso estudo em uma pesquisa de campo, de caráter exploratório e quantitativo, com 250 pessoas, de 15 a 55 anos e mais, na cidade do Recife, consumidoras de telenovela – e, portanto audiência –, para entendermos como espectadores de distintas faixas etárias estão consumindo a telenovela. Com a conceituação de uma audiência transmídia, a presente pesquisa colabora para os avanços necessários nos métodos de mensuração que orientam os investimentos publicitários e da indústria televisiva, ao mesmo tempo em que oferece uma descrição crítica dos métodos de mensuração adotados no Brasil, tema sobre o qual a bibliografia disponível no Brasil é ainda escassa e dispersa.
The landscape of media convergence and participatory cutlure imposes new modes of production, distribution and reception of televison content, giving rise to phenomena such as transmediation. Result of television insertion in a multiplataform creative chain, transmediation refers to the set of actions through wich complementary content and/or associated with television programs are offered in other media, demanding of its audience an articulated consumption of everything offered as part of strategies for engagement. The articulated consumption of content distributed in different media forges new behaviors of the viewe and establishing what here we describe as transmedia audience, a type of audience that can not be measured by the consumer monitoring on each platform separetely, since its configuration depends on the articulation it promotes between the contents in the same act of media consumption. The postulation of the transmedia audience was supported by the observation of the consumption of telenovelas, the televisual genre in which more there is greater investment in transmedia actions on Rede Globo, the country’s main which is why this is the object of this research. Based on literature, we problematize the concept of audience, inventoried and analyzed the methods of measurement, pointing out its limits against phenomena anchored in the participatory culture and indicating the need to incorporate the available tools designing a transmedia audience. We also support our study in a field research, a exploratory and quantitive research with 250 people, 15 – 55 years old and more, in Recife, telenovela consumers – and therefore audience – to understand how distinct viewes are consuming the telenovela. With the concept of transmedia audience, this research contributes to the necessary advances in measurement methods that drive advertising investments and television industry, while offering a wide inventory of measurement methods, a subject on which the literaure available in Brazil is still scarce and scattered.
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Leopold, Amanda A. "Dealing with the Digital: Literary Media, Mediated Narratives, and Sketchy Politics". Oberlin College Honors Theses / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=oberlin1495718816858325.

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Yeung, Cindy K. L. "Multimodal close reading as currency : transmediating poetic language through artistic design". Thesis, University of British Columbia, 2009. http://hdl.handle.net/2429/12548.

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This Master’s thesis explores the use of artistic design in a senior high school English class to teach the stylistic analysis of poetry. As a reflective, critical inquiry into my own classroom practice, this paper follows primarily the methodology of teacher research. A less prominent but equally important methodology is the autobiographical living inquiry of a/r/tography. My research features a poetry project for an English 12 class in a fine arts mini-school. Students conducted a close reading of a poem and then communicated their interpretation and analysis by creating an original artistic work in a non-textual mode. The students also articulated their own process of design. By exploring parallels between the poem and their artistic work, they developed a descriptive metalanguage to analyze the rhetorical connections between different modes of communication. This paper draws on the research areas of multiliteracies pedagogy and aesthetic education to investigate the implications of transmediating poetic texts. The study of the classroom project is framed within my overarching inquiry into the value of teaching literary close reading in an age when literacy educators face increasing obligations to prepare students for the world of the globalized knowledge economy. I use the notion of currency, both as monetary worth and as fluidity, to argue that the stylistic analysis of literature—which is usually not perceived as utilitarian—can indeed be useful outside the English language arts classroom. A project in which students explore literary close reading through multimodal design can help them develop critical and creative skills that do have value and can therefore be considered currency in the students’ social and economic futures.
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Souza, Liziane Kugland de. "The magic pudding : a verbal and pictorial translation". reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2017. http://hdl.handle.net/10183/170382.

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A partir de minha tradução para o português brasileiro de The Magic Pudding (1918), novela infantil australiana escrita e ilustrada por Norman Lindsay, o objetivo desta dissertação é demonstrar as peculiaridades da tradução de literatura infantil ilustrada. Portanto, este estudo analisa o papel das ilustrações na tradução, enquanto levanta questões sobre a adaptação literária em uma época em que novos meios e tecnologias de leitura competem com o livro impresso pela atenção infantil. Como O Pudim Mágico é a primeira tradução da novela para o português, e devido à importância das ilustrações na narrativa, é proposta uma tradução estrangeirizada para que elementos da cultura e da natureza australianas, especialmente alimentos e animais, permaneçam visíveis no texto de chegada. Pelas mesmas razões, tanto o texto propriamente dito quanto as ilustrações são tratados como textos, respectivamente, verbal e pictórico, em oposição aos peritextos verbal e pictórico acrescentados ao texto de chegada. Este estudo é dividido em quatro capítulos: 1) apresentação da biografia e obra do autor, bem como do contexto em que The Magic Pudding foi escrito, seguida pelo resumo detalhado da novela, uma discussão sobre as peculiaridades da tradução para crianças e, baseadas principalmente em Lawrence Venuti e Gérard Genette, as justificativas para a abordagem estrangeirizante com o emprego de elementos peritextuais; 2) apresentação das estratégias de Javier Franco Aixelá para a tradução de itens culturais-específicos para discutir o tratamento de nomes próprios contendo significados culturais; considerando o leitor-alvo, é sugerido o acréscimo de elementos peritextuais, tais como novas ilustrações combinadas com um prefácio verbal, a fim de evitar o emprego de notas de rodapé; 3) análise da influência da ilustrações de Lindsay na tradução, com sugestões para o tratamento do texto verbal de chegada; 4) discussão sobre tópicos de adaptação e transmidiação de literatura infantil, com sugestões para tratar os textos verbal e pictórico na transposição de O Pudim Mágico de meio impresso a digital; com base principalmente nos estudos de Lars Elleström e Ellen McCracken, dispositivos digitais de leitura como o Amazon Kindle e o Apple iPad são analisados, concluindo-se que o texto-alvo é considerado uma tradução em formato impresso, uma remidiação em formato para Kindle e uma transmidiação em formato para iPad.
Based on my unpublished translation of The Magic Pudding (1918), Australian children’s novel written and illustrated by Norman Lindsay, this thesis aims at demonstrating the peculiarities of translating illustrated children’s literature. Therefore, it analyses the role of the illustrations in the translation while raising questions on literary adaptation at a time when new reading media and technology compete with the printed book for children’s attention. Given that O Pudim Mágico is the first translation of the novel into Portuguese and due to the importance of the illustrations in the narrative, I propose a foreignised translation to preserve Australia’s cultural and natural elements, in particular foods and animals, visible in the target text. For the same reasons, both the text proper and the illustrations are regarded as texts, respectively verbal and pictorial, in opposition to the verbal and pictorial peritexts added to the target text. This study is divided into four chapters: 1) a presentation of the author’s biography and oeuvre, as well as of the context in which The Magic Pudding was written, followed by a detailed summary of the novel, a discussion on the peculiarities of translating for children and, mainly based on Lawrence Venuti and Gérard Genette, a justification for the foreignising approach with the employment of peritextual elements; 2) a presentation of Javier Franco Aixelá’s strategies to translate culture-specific items in order to discuss the treatment of proper names that hold cultural meanings; considering the target reader, the addition of peritextual elements, such as new illustrations combined with a verbal preface, is suggested as a means to avoid the employment of footnotes; 3) an analysis of the influence of Lindsay’s illustrations on the translation with suggestions for the treatment of the verbal target text; 4) a discussion on issues of adaptation and transmediation of children’s literature, with suggestions for treating the verbal and pictorial texts in the transposition of O Pudim Mágico from printed to digitised media; based mainly on the studies by Lars Elleström and Ellen McCracken, digital reading devices such as Amazon Kindle and Apple iPad are analysed to conclude that the novel’s target text is deemed to be a translation in print format, a remediation on Kindle and a transmediation on iPad. Keywords: Adaptation. Australian Literature. Children’
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Libros sobre el tema "Transmediation"

1

Kitchens, Juliette C. y Julie L. Hawk, eds. Transmediating the Whedonverse(s). Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-24616-7.

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Kérchy, Anna y Björn Sundmark, eds. Translating and Transmediating Children’s Literature. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-52527-9.

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Translation and Geography: Negotiation and Transmediation of Western Spatial Imaginations. Taylor & Francis Group, 2016.

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1946-, Semali Ladislaus, ed. Transmediation in the classroom: A semiotics-based media literacy framework. New York: P. Lang, 2002.

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Semali, Ladislaus. Transmediation in the Classroom: A Semiotics-Based Media Literacy Framework (Counterpoints (New York, N.Y.), V. 176.). Peter Lang Publishing, 2002.

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Kitchens, Juliette C. y Julie L. Hawk. Transmediating the Whedonverse: Essays on Texts, Paratexts, and Metatexts. Palgrave Macmillan, 2019.

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Newstok, Scott. Making ‘Music at the Editing Table’. Editado por James C. Bulman. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199687169.013.2.

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Orson Welles was as multifaceted as Shakespeare in drawing his material from manifold sources across multiple media. His 1952 film Othello strategically echoes Verdi and Boito’s 1887 opera Otello, and thereby vindicates his adaptation’s liberties by triangulating and transmediating his sources. Invoking Verdi also permitted Welles to contrast his own Shakespeare films with those of Laurence Olivier, whom Welles dismissed as merely a transcriber of stage versions. In contrast, Welles described his own editing practice as being more akin to musical composition. Attending to Welles’s recurrent annexation of opera offers a more suggestive account of his creative process and ultimate achievement.
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Capítulos de libros sobre el tema "Transmediation"

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Domingos, Ana Cláudia Munari y José Arlei Rodrigues Cardoso. "Media Representation and Transmediation: Indexicality in Journalism Comics and Biography Comics". En Beyond Media Borders, Volume 2, 79–115. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-49683-8_4.

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Abstract This article analyzes the ways in which journalism comics and biography comics create indexicality through intermedial relations. These strategies include media representations of different qualified media types (journalistic report, biography, and autobiography) and of specific media products (such as familiar images of people and places). The article starts with a short history of comics. It then offers a theoretical discussion of intermediality, media representation, and transmediation, with specific focus on the tactics that journalism and biography comics use to represent reality indexically through media representation and transmediation. Furthermore, the authors analyze intermedial relations in the comic albums The Photographer: Into War-Torn Afghanistan with Doctors Without Borders by Emmanuel Guibert, Didier Lefèvre, and Frederic Lemercier; Il mondo di Aisha—Storie di donne dello Yemen by Ugo Bertotti; Maus by Art Spiegelman; To the Heart of the Storm by Will Eisner; Dotter of Her Father’s Eyes by Mary M. Talbot and Bryan Talbot; and Footnotes in Gaza by Joe Sacco.
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McCormick, Casey. "Transmediating the Whedon Classroom". En Transmediating the Whedonverse(s), 65–85. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-24616-7_4.

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Kitchens, Juliette C. y Julie L. Hawk. "Exploring a Whedonverse, the Whedonverses, and the Whedonverse(s): The Shape of Transmedia Storytelling in Joss Whedon’s World(s)". En Transmediating the Whedonverse(s), 1–15. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-24616-7_1.

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Dunaway, Dustin. "Un-Warren-Ted: Or, How I Learned to Stop Worrying and Love My Transgressive Fandom". En Transmediating the Whedonverse(s), 17–40. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-24616-7_2.

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Walsh, Karen. "History Has Its Eyes on the Greatest Hellmouth in the World: Transmedia, Hint Fiction, and Mashup Memes". En Transmediating the Whedonverse(s), 41–63. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-24616-7_3.

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Perdigao, Lisa K. "“This Is the Next Me”: The Evolution of AI in the Whedonverses". En Transmediating the Whedonverse(s), 87–116. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-24616-7_5.

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McKee, Marc. "“You’re Not the Source of Me”: Navigating and Mastering the Transmedial at the End of Buffy the Vampire Slayer’s Fourth Season". En Transmediating the Whedonverse(s), 117–40. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-24616-7_6.

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Starr, Michael. "“To Speak Against an Opponent Eloquently Makes You an Unusual Personage”: Joss Whedon as Deleuzian “Minor Writer”". En Transmediating the Whedonverse(s), 141–65. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-24616-7_7.

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Graves, Stephanie A. "The Transtextual Road Trip: Buffy the Vampire Slayer, Supernatural, and Televisual Forebears". En Transmediating the Whedonverse(s), 167–99. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-24616-7_8.

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Hawk, Julie L. y Juliette C. Kitchens. "A Brief Note on Looking Forward". En Transmediating the Whedonverse(s), 201–6. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-24616-7_9.

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Actas de conferencias sobre el tema "Transmediation"

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Antunes Morais, Rodrigo y Antonio Roberto Chiachiri Filho. "TRANSMEDIATION AND SCHIZOPHRENIA: A PHENOMENOLOGICAL PROPOSAL". En New Semiotics. Between Tradition and Innovation. IASS Publications, 2015. http://dx.doi.org/10.24308/iass-2014-028.

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Antonini, Alessio, Francesca Benatti, Nicola Watson, Edmund King y Jonathan Gibson. "Death and Transmediations: Manuscripts in the Age of Hypertext". En HT '21: 32nd ACM Conference on Hypertext and Social Media. New York, NY, USA: ACM, 2021. http://dx.doi.org/10.1145/3465336.3475093.

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