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Artículos de revistas sobre el tema "Transmediation"

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Autor: Grafiati

Publicado: 4 de junio de 2021

Última modificación: 19 de febrero de 2022

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1

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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2

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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3

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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4

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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5

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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6

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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7

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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8

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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9

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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10

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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11

Schmit, Karla M. "Making the Connection: Transmediation and Children's Literature in Library Settings". New Review of Children's Literature and Librarianship 19, n.º 1 (abril de 2013): 33–46. http://dx.doi.org/10.1080/13614541.2013.752667.

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12

Virginás, Andrea. "Gendered transmediation of the digital fromS1m0netoEx Machina: ‘visual pleasure’ reloaded?" European Journal of English Studies 21, n.º 3 (2 de septiembre de 2017): 288–303. http://dx.doi.org/10.1080/13825577.2017.1369266.

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13

Zha, Yiyun. "Unpacking communication tensions in visual transmediation from print to digital papers". Communication Design 5, n.º 1-2 (3 de julio de 2017): 165–82. http://dx.doi.org/10.1080/20557132.2017.1402501.

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14

Lutas, Liviu. "Transmediation or Media Representation? Media Transformation in Recent Eastern European Films". Ekphrasis. Images, Cinema, Theory, Media 18, n.º 2 (30 de diciembre de 2014): 47–61. http://dx.doi.org/10.24193/ekphrasis.18.4.

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15

Şerban, Andreea. "When Power Seduces Women: Shakespeare’S Tragic (Mother) Queens in Manga". Romanian Journal of English Studies 11, n.º 1 (1 de marzo de 2014): 126–36. http://dx.doi.org/10.2478/rjes-2014-0016.

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Abstract Power is seductive, and fantasies of power affect both men and women, who are sometimes willing to do anything in order to achieve or retain it. The paper looks at how such a modern transmediation as manga renders powerful femininity in two of Shakespeare’s great tragedies, namely Hamlet and Macbeth. The paper aims to discuss the ways in which the emotive behaviour of both female protagonists eventually makes them inappropriate for the power roles they assume as wives, queens and mothers.

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16

Reilly, Mary Ann. "Saying What You See in the Dark: Engaging Children Through Art". LEARNing Landscapes 3, n.º 1 (1 de marzo de 2009): 69–87. http://dx.doi.org/10.36510/learnland.v3i1.318.

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In this article, I explore the process of transmediation by examining selected art conversations—nonverbal communication made through painting—and poetry that urban fifth graders composed in response to a query about how they learn. Specifically, I examine three students’ works, noting how the use of multiple symbol systems helped each to compose strong visual and written texts. In studying the work the students composed, I conclude that visual art and poetry make fine partners in intellectual endeavors aimed at educating the imagination.

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17

McCormick, Jennifer. "Transmediation in the Language Arts Classroom: Creating Contexts for Analysis and Ambiguity". Journal of Adolescent & Adult Literacy 54, n.º 8 (mayo de 2011): 579–87. http://dx.doi.org/10.1598/jaal.54.8.3.

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18

IYENGAR, KALPANA MUKUNDA. "Bharatanatyam Dance". Dev Sanskriti Interdisciplinary International Journal 13 (31 de enero de 2019): 16–24. http://dx.doi.org/10.36018/dsiij.v13i.111.

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This article explores an Asian Indian American youth’s Bharatnatyam dance literacy education in a major city in the southwest of the U.S. I draw from sociocultural, multimodal, transmediation, and multiple intelligencies theories to support my claims. Findings reveal the young adult’s dance education contributed to cultural preservation (Iyengar & Smith, 2016). A plethora of research on the contributions of dance education in the physical development of children is available. This study offers understandings of how formal classical dance (Bharatanatyam) is both beneficial physically and psychologically. Dance, especially Bharatanatyam, culturally codified and schematized contributes to literacy learning in school.

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19

DeAnda, Michael Anthony, Jennifer deWinter, Chris Hanson, Carly A. Kocurek y Stephanie Vie. "“Families, Friendship, and Feelings”: American Girl, Authenticating Experiences, and the Transmediation of Girlhood". Journal of Popular Culture 51, n.º 4 (16 de julio de 2018): 972–96. http://dx.doi.org/10.1111/jpcu.12708.

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20

Kustritz. "Revolutionary America from Concord and Lexington to Ferguson: Folk Transmediation of Historical Storytelling". Narrative Culture 6, n.º 2 (2019): 140. http://dx.doi.org/10.13110/narrcult.6.2.0140.

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21

Min, Jeeyoung. "Visual literacies in a U.S. undergraduate writing course: a case study of transmediation". Journal of Visual Literacy 38, n.º 1-2 (3 de abril de 2019): 83–99. http://dx.doi.org/10.1080/1051144x.2018.1564605.

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22

Lau, Sunny Man Chu. "Translanguaging as transmediation: Embodied critical literacy engagements in a French-English bilingual classroom". Australian Journal of Applied Linguistics 3, n.º 1 (30 de abril de 2020): 42–59. http://dx.doi.org/10.29140/ajal.v3n1.299.

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23

Campanioni, Chris. "Doubling the fantasy, adapting the reel: Entertaining transmediation as a collaborative narrative strategy". Journal of Applied Journalism & Media Studies 10, n.º 2 (1 de junio de 2021): 199–210. http://dx.doi.org/10.1386/ajms_00057_1.

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Can we move fan participation and the co-creation of storylines outside the sphere of the culture industry to better understand their potential functions for constructing individual subjectivity and empowering social change? With an attention to experiences of migration, exile and detainment, and through close readings of documentary The Wolfpack (2015), HBO’s bilingual horror comedy series Los Espookys (2019) and Manuel Puig’s novel, El beso de la mujer araña (1976), I argue that it is necessary to move beyond a speaker‐audience dialectic, as in traditional storytelling, and towards transmediated activity, where static or linear temporal and spatial orders are both reproduced and subverted. By converging performance studies with border studies and phenomenology, this contribution counters assumptions about submissive viewership while unpacking the political utility of entertainment. Ultimately, ‘Doubling the fantasy, adapting the reel’ challenges what it means to be a ‘storyteller’ and what constitutes a useful ‘story’ in the context of political advocacy and activism.

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24

Elleström, Lars. "Representing the Anthropocene: Transmediation of Narratives and Truthfulness from Science to Feature Film". Ekphrasis. Images, Cinema, Theory, Media 24, n.º 2 (15 de diciembre de 2020): 36–48. http://dx.doi.org/10.24193/ekphrasis.24.3.

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25

O'Brien, Peter. "Drawing Upon Finnegans Wake". Art/Research International: A Transdisciplinary Journal 3, n.º 2 (15 de septiembre de 2018): 196–215. http://dx.doi.org/10.18432/ari29381.

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LOTS OF FUN WITH FINNEGANS WAKE is my six-year project to annotate / illustrate / disrupt the 628 pages of James Joyce’s final book. I’ve been reading Finnegans Wake off and on for about 40 years, and I consider it to be the most multi-layered, protean, and playful collection of words that we have. As a way to explore the book’s circular, recurring, enigmatic pathways, I am involved in the process of transmediation – I am turning some of its words into visual images and some of its linguistic images into words. This project is a way for me to indulge my natural inclination to connect the intellectual and the illustrative, the visual and the verbal.

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26

Chung, Mi-Hyun. "Transmediation of Art, Reading, and Writing: Using Sketch Journals for Critical Literacy and Reflective Learning". International Journal of Arts Education 13, n.º 2 (2018): 11–26. http://dx.doi.org/10.18848/2326-9944/cgp/v13i02/11-26.

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27

Soyoung Kim. "The Study of Images through Transmediation of Visualtexts ― Focused on Walker and APRES LE DELUGE". Journal of Chinese Cultural Studies ll, n.º 35 (febrero de 2017): 41–68. http://dx.doi.org/10.18212/cccs.2017..35.002.

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28

Mills, Kathy. "‘I'm Making it Different to the Book’: Transmediation in Young Children's Multimodal and Digital Texts". Australasian Journal of Early Childhood 36, n.º 3 (septiembre de 2011): 56–65. http://dx.doi.org/10.1177/183693911103600308.

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29

Araújo, Yuri Borges de y Maria do Socorro Furtado Veloso. "The problematization of transmediation in the journalistic context: an analysis of transmedia storytelling from feature articles". Brazilian Journalism Research 11, n.º 1 (16 de septiembre de 2015): 216–33. http://dx.doi.org/10.25200/bjr.v11n1.2015.814.

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30

Anjirbag, Michelle Anya. "Reforming Borders of the Imagination: Diversity, Adaptation, Transmediation, and Incorporation in the Global Disney Film Landscape". Jeunesse: Young People, Texts, Cultures 11, n.º 2 (2019): 151–76. http://dx.doi.org/10.1353/jeu.2019.0021.

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31

Schirrmacher, Beate. "The Transmediation of Ambivalence. Violence and Music in Burgess’s A Clockwork Orange and Kubrick’s Film Adaptation". Ekphrasis. Images, Cinema, Theory, Media 22, n.º 2 (27 de noviembre de 2019): 26–40. http://dx.doi.org/10.24193/ekphrasis.22.2.

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32

Rossignoli, Claudia. "Playing the Afterlife: Dante’s Otherworlds in the Gaming Age". Games and Culture 15, n.º 7 (29 de septiembre de 2019): 825–49. http://dx.doi.org/10.1177/1555412019872578.

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In the centuries of its continuous circulation, Dante’s Comedy has been one the most productive examples of the transmedia potential of literary works. The timeless relevance of its fundamental moral questions, the cosmic dimension of its imaginative power, and the intensity of its realism, all hold unparalleled promise for any kind of adaptation, translation, or transmediation. The Comedy, and especially its first infernal cantica, gets periodically reinvented and transferred into creative outlets that are increasingly technology driven. This article will explore existing gaming adaptations of Dante’s Comedy, to focus on the one hand on textual aspects that are mostly exploited to achieve commercial success and on the other on the potential offered by the text and often marginalized by developers. The article will discuss ways in which new creative approaches would allow for a gaming experience with the authenticity, intensity, and relevance of the “original.”

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33

Sánchez-Martínez, Josefina y Sergio Albaladejo-Ortega. "Transmedia Storytelling and Teaching Experience in Higher Education". International Journal of Contemporary Education 1, n.º 1 (16 de abril de 2018): 52. http://dx.doi.org/10.11114/ijce.v1i1.3077.

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The present paper analyzes an innovative teaching experience, Transmedia Narrative, in the field of Higher Education. This experience based on the Project-Based Learning (PBL) method and collaborative processes, that has a solid constructivist framework, is proposed as a fertile ground for creative experimentation and the production of interesting pieces and exemplary transmediation strategies. The innovative teaching project was conducted between 2013 and 2017 at the Faculty of Communication, Catholic University of Murcia (Spain). Part of the results at this project were presented at the ‘International Conference on Communication in the profession and the university of today: contents, research, innovation and teaching’ (CUICIID) in 2014, in order to make the premier disclosure of preliminary data and test the design of the project. So far, the project created works in progress of immense professional and academic value. Results of this project are not only relevant, but also provide a significant and original contribution to the international literature related to contemporary education.

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34

Choo, Kukhee. "Transmedia storytelling and transmediated bodies in Fullmetal Alchemist (2017)". Asian Cinema 31, n.º 2 (1 de octubre de 2020): 187–202. http://dx.doi.org/10.1386/ac_00021_1.

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Hagane no Renkinjutsushi (Fullmetal Alchemist) (2001, Hagaren in short) is a Japanese comic book franchise that not only expanded into a larger supersystem through its transmedia storytelling on multimedia platforms, but also through the global fandom of cosplay (the Japanese term for costume play), a form of popular culture that is heavily promoted by the Japanese government’s Cool Japan policy. Hagaren is set in an unidentifiable European landscape, a common depiction in many Japanese manga and anime, yet, in the 2017 live-action film that was globally distributed on Netflix, audiences witness a full Japanese cast performing European characters. This cross-racial performance, or yellow washing, challenges the border-crossing narrative and global viewership of the Hagaren’s manga and anime franchise. By examining how Hagaren’s supersystem developed out of the interplays of media industries, fan culture and broader governmental policies, this article aims to excavate the multifaceted politics of not only cross-border consumer identities, but also cross-racial performances propagated by the transmediation of Japanese popular culture on the global stage.

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35

Olsen, Richard. "Keeping the Fidelity in Stereo Catechesis: Opportunities and Dangers Inherent in Transmediation of the Gospel as Illustrated inSister Act IandII". Journal of Religion and Popular Culture 14, n.º 1 (septiembre de 2006): 2. http://dx.doi.org/10.3138/jrpc.14.1.002.

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36

Tsiftsi, Xanthi. "Libeskind and the Holocaust Metanarrative; from Discourse to Architecture". Open Cultural Studies 1, n.º 1 (27 de noviembre de 2017): 291–303. http://dx.doi.org/10.1515/culture-2017-0026.

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Abstract The Holocaust today resides between memory and postmemory. Initially, children of survivors and their contemporaries inherited a mediated past and bore full responsibility for disseminating their ancestors’ experiences. However, with the prevalence of the Holocaust metanarrative and its absolutist historicism, it was realised that when memory needs to cross generational boundaries, it needs to cross medial as well. The discourse was not enough; there was a need for broadening the narrative beyond the verbal using a powerful medium with the capacity to affect cognition and provoke emotions. This would be architecture, a storyteller by nature. In the 2000s, there was a noticeable boom in innovative Holocaust museums and memorials. Deconstructivist designs and symbolic forms constituted a new language that would meet the demands of local narratives, influence public opinion, and contribute to social change. This paper examines the potential of this transmediation and addresses critical issues-the importance of the experience, the role of empathy and intersubjectivity, the association of emotions with personal and symbolic experiences-and ethical challenges of the transmedia “migration” of a story. To accomplish this, it draws upon Daniel Libeskind, a Polish-born architect who has narrated different aspects of the Holocaust experience through his works.

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37

Sergeyeva, Olga y Nadezhda Zinovyeva. "Gaming Spaces and the Changing Experience of Urban Communications". Logos et Praxis, n.º 4 (abril de 2020): 51–61. http://dx.doi.org/10.15688/lp.jvolsu.2020.4.5.

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Thanks to mobile technologies, a modern city exists as an intersection of real and virtual worlds, combining face-to-face and online communications. Also, a city is a constantly recreated object in virtual gaming spaces and is not just a passive background, but an important resource for the development of gameplay. Hybridization as the addition of physical space to virtual space, and transmediation as the free transfer of content between different platforms, provide new opportunities for citizens to participate and observe urban life. The article's aim is a conceptualization of changes in the urban communication experience on the example of commemorative activities. The authors discuss the case of the Victory Parade on May 9, 2020, which was hosted by gamers in the online space, but thanks to streamers it was broadcast to a wide audience. All participants tried to somehow correspond to a real parade: they used equipment and combat subunits (units), chose locations similar to urban squares, tried to walk, ride or fly in formation, used the marches or songs of the war years. Both gamers and official teams of game developers created their parades. Authors concluded that gaming space, its architecture, and artifacts are of essential importance for this event and creates the basis for a full, partial, or creative reconstruction of the event. The authors note that online games are changing the experience of urban interactions, becoming a platform for both communication and maintaining cultural patterns, for example, for developing citizen rituals. The reproduction of urban rituals in gaming spaces reconfigures the collaborative social activities of nowadays citizens.

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38

Leland, Christine H. y Sara E. Bangert. "Encouraging Activism Through Art: Preservice Teachers Challenge Censorship". Literacy Research: Theory, Method, and Practice 68, n.º 1 (19 de agosto de 2019): 162–82. http://dx.doi.org/10.1177/2381336919870272.

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According to the American Library Association, book censorship is on the rise. While many censored books are adolescent novels, some titles for younger children are challenged as well. Books dealing with difficult social issues have been targets for censors historically, but recent attacks have focused on books portraying members of the lesbian, gay, bisexual, transgender, questioning, and other sexual identities (LGBTQ+) community. The goal of this qualitative study was to build prospective teachers’ (PTs’) knowledge of censorship while also providing an opportunity for them to take a sociopolitical stance. Students in a children’s literature course read source materials and reacted by creating a transmediation that used some form of art. Lenses for data analysis included qualitative research, critical discourse analysis, and visual discourse analysis. The first major theme focused on freedom and democracy and the threat censorship poses. Within this category, two subthemes were identified: (1) children having freedom to learn about real-world issues and (2) children having freedom to read books that meet their personal needs. A second major theme focused on how PTs thought people should respond to censorship. Responses expressing fear and/or confusion about censorship were coded as demonstrating a teacher dilemma, while examples showing a challenge to censorship were coded as demonstrating resistance. Findings indicate that PTs were shocked by what they learned about censorship, and many of them engaged in culture jamming, which involves using the arts to challenge oppressive systems. Many used art to critique censorship and advocate for children’s rights. This study challenges the common cultural assumption that teaching is an apolitical or neutral activity.

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39

Fattal, Laura Rachel. "Transmediational practices in a bilingual elementary classroom". NABE Journal of Research and Practice 9, n.º 2 (3 de abril de 2019): 88–95. http://dx.doi.org/10.1080/26390043.2019.1589295.

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40

Fowler, Michael. "Transmediating a Japanese Garden through Spatial Sound Design". Leonardo Music Journal 21 (diciembre de 2011): 41–49. http://dx.doi.org/10.1162/lmj_a_00060.

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There have been numerous artists, architects and designers whose encounters with traditional Japanese garden aesthetics have produced creative works. The author examines John Cage's Ryoanji, a musical translation of the famous karesansui garden in Kyoto, as an important musical precedent and uses it to position his own methodologies for transmediating the spatial predilections of the Japanese garden Sesshutei. He also documents various mapping techniques and data visualizations used to inform his recent multi-channel sound installation/performance environment, Sesshutei as a spatial model.

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41

Lavender, Andy. "The Internet, Theatre, and Time: Transmediating the Theatron". Contemporary Theatre Review 27, n.º 3 (3 de julio de 2017): 340–52. http://dx.doi.org/10.1080/10486801.2017.1343241.

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42

Tornborg, Emma. "Truth Written in Verse: Transmediations of Scientific Discourse in Swedish Ecopoetry". Ekphrasis. Images, Cinema, Theory, Media 24, n.º 2 (15 de diciembre de 2020): 124–43. http://dx.doi.org/10.24193/ekphrasis.24.7.

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43

Şerban, Andreea. "Reinscribing Sexuality: Manga Versions of Romeo and Juliet". Romanian Journal of English Studies 9, n.º 1 (1 de diciembre de 2012): 335–50. http://dx.doi.org/10.2478/v10319-012-0030-y.

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Abstract Designed to familiarize the younger audience with the Bard’s work, while at the same time catering to their tastes and interests, not only have Shakespearean adaptations moved the original plots to unusual milieus and exotic cultures, but have also ‘translated’ them to new media. This paper analyzes the portrayal of sexuality in two transmediations of Shakespeare’s Romeo and Juliet. The paper compares and contrasts two manga versions of the play (a British and a Japanese one), aiming to highlight the ways in which the “star crossed lovers’” relationship has been adapted and appropriated by the two cultures in the twentyfirst century.

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44

Şerban, Andreea. "Re-Contextualizing Shakespeare: Romeo and Juliet in Manga". Linguaculture 2017, n.º 2 (20 de diciembre de 2017): 134–44. http://dx.doi.org/10.1515/lincu-2017-0023.

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Abstract A fairly new medium for westerners, manga joins the variety of already existing “shakespeares”, bringing a fresh and vivid perspective on some of the most famous Shakespearean plays. This paper discusses several representations of space, with a particular focus on the city (Verona), the Capulet ballroom, and Juliet‘s bedroom, as they are rendered by artists in three manga transmediations of Romeo and Juliet coming from different cultural contexts (British, American, and Japanese). The paper will also explore the ways in which the three cultures play with Shakespeare‘s original Italian setting and negotiate their influence over one another at the beginning of the twenty-first century.

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Carreño Villada, Jose y Miguel Ángel Díaz Monsalvo. "Tiempo Muerto, estudio de caso de un proyecto transmediático para la consecución de competencias universitarias." Ámbitos. Revista Internacional de Comunicación, n.º 46 (2019): 66–91. http://dx.doi.org/10.12795/ambitos.2019.i46.05.

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Şerban, Andreea. "‘Ophelia divided from herself ’ (Hamlet, 4.5.2944–45)". Critical Survey 33, n.º 1 (1 de marzo de 2021): 103–18. http://dx.doi.org/10.3167/cs.2021.330108.

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Manga – one of Japan’s cool cultural products – has undergone, over the past two and a half decades, a process of globalisation, of Western domestication. Manga versions of Shakespeare’s canonical works have long been appreciated for their educational value and ‘friendly’ introduction to Shakespeare’s dense, multilayered texts. Starting from two Western manga transmediations of Shakespeare’s Hamlet, this article focuses on new interpretations given to the character of Ophelia and her interactions with Hamlet, as they become more and more public and monitored. I will show that manga brings to light (or life?) fresh aspects of Ophelia as well as of Hamlet, particularly through the use of chibi, enriching the number of Ophelia’s afterlives either by means of aggression or modern technologies, while also ensuring that Shakespeare remains a writer for all times.

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Diniz, Thaïs Flores Nogueira. "Transmediating corruptive beauty: William Blake’s “The sick rose” of modern times". Cadernos de Letras da UFF 27, n.º 54 (30 de junio de 2017): 11. http://dx.doi.org/10.22409/cadletrasuff.2017n54a514.

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<p>O poema de William Blake, “The Sick Rose”, que trata da oposição rosa versus verme e serve para denunciar a corrupção, é transmidiado para a instalação intitulada “Sick Rose”, criada por David Burrows e exposta na Cloud & Vision Exhibition de 2005, em Londres. As acusações do tempo de Blake são transpostas para as do século XX e a recuperação contemporânea da obra de Blake no Brasil nos dá pistas de que a denúncia radical do poeta contra a corrupção é ainda válida.</p><p>---</p><p> </p><p>DOI: <a href="http://dx.doi.org/10.22409/cadletrasuff.2017n54a514" target="_blank">http://dx.doi.org/10.22409/cadletrasuff.2017n54a514</a></p>

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Smith, Blaine E., Carita Kiili y Merja Kauppinen. "Transmediating argumentation: Students composing across written essays and digital videos in higher education". Computers & Education 102 (noviembre de 2016): 138–51. http://dx.doi.org/10.1016/j.compedu.2016.08.003.

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Rampazzo Gambarato, Renira, Geane Carvalho Alzamora, Lorena Peret Teixeira Tárcia y Amanda Chevtchouk Jurno. "2014 FIFA World Cup on the Brazilian Globo Network: A transmedia dynamics?" Global Media and Communication 13, n.º 3 (3 de octubre de 2017): 283–301. http://dx.doi.org/10.1177/1742766517734256.

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The news coverage of the 2014 Fédération Internationale de Football Association (FIFA) World Cup in Brazil encompassed various media platforms and the flow of information in the intersection between mass media (especially television) and social media (especially Twitter and Facebook). The research question that motivates this article is, ‘To what extent can Globo Network’s Brazilian coverage be characterized as a transmedia experience?’ The theoretical framework focuses on transmedia journalism, and the methodology is based on the analytical model regarding transmedia news coverage of planned events developed by Gambarato and Tárcia. The research findings demonstrate that the Globo Network coverage was modestly transmediatic, presenting mechanisms of audience engagement and limited expansion of content within technological advances. However, there was no solid transmedia plan aiming at articulating transmediality to build a universe designed within various integrated media platforms.

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Szőke, Dávid. "Children’s Literature Beyond Place and Space : Translating and Transmediating Children’s Literature. Edited by Anna Kérchy and Björn Sundmark". Eger Journal of English Studies 20 (2020): 113–16. http://dx.doi.org/10.33035/egerjes.2020.20.113.

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