Intermediate Reference Research Articles

‘Fictions of the Internet’: From Intermediality to Transmedia Storytelling in 21st-Century Novels by Anna Weigel-Heller

 Reviews are omitted. She had five children, for example, yet the oen all-encompassing act of mothering gets barely a mention—except as a sort of timeline-marking event here and there. Is this a success of the study, or a failure? ere is almost no time to answer, as the book is busy pursuing the erasure of superstructures at large. e book is generous in pointing out routes of access to such gorgeously complex poetry, refusing to keep the signs of Di Prima’s magic to itself. U  R Y S ‘Fictions of the Internet’: From Intermediality to Transmedia Storytelling in stCentury Novels. By A W-H. (Research on Alternative Varieties of Exploration in Narrative, ) Trier: Wissenschalicher Verlag Trier. . xvi+ pp. €.. ISBN ––––. ‘We are in the midst of a paradigm shi in writing and reading novels’, argues Anna Weigel-Heller (p. ). She is referring to digital textuality and what happens to literature when it interfaces with both digital technology and digital culture. Weigel-Heller completed her doctoral research in English and American literary studies at Justus Liebig University Giessen and the University of Helsinki in . She has published articles on intermedial and transmedial storytelling as well as on the emergence of new genres. In this new volume, Weigel-Heller explores how ‘the contemporary novel has responded to the overall media developments of the st century’ (p. ). She coins the label ‘fictions of the Internet’ to describe all the innovative twenty-first-century novels that deal with and make use of new media and the Internet through their content, form, materiality, technological support, or interactive features. Weigel-Heller includes seven case studies and broadly examines  contemporary literary works using a combination of text-centred, transgeneric, transmedial, and culture-oriented methods from literary, cultural, and media studies. She focuses on three main concepts and contributes specifically to the ongoing debates within ‘intermediality’, ‘transmedia storytelling’, and ‘genre/generic change’. Her work fills the gap in the area of intermedial and transmedial relations between twenty-firstcentury novels and new media, with the aim of systematizing the manifold new tendencies in contemporary writings. ‘More and more st-century writers are beginning to invoke new media in their literary texts and explore the limits of the novel as a medium’, says WeigelHeller (p. ). She provides evidence of how contemporary writers do not simply add intermedial references to their stories but instead ‘use media for a variety of storytelling purposes’, sometimes even revealing ‘the potential and limits of writing’ (Daniel Punday, Writing at the Limit: e Novel in the New Media Ecology (Lincoln: University of Nebraska Press, ), p. ; quoted in the current volume, p. ). She thus demonstrates the transformation of old literary genres and the creation of new genres owing to the influence of new media and technologies. Furthermore, she asserts that literary and media scholars must come to terms with these rapidly evolving literary innovations, which she categorizes by proposing new genres such MLR, .,   as ‘psychological Internet thriller’, ‘Facebook novel’, ‘Internet satire’, ‘multimedia novel’, and ‘Internet-enhanced mystery novel’ (p. ). She suggests that, over the coming years, the book market will continue to change in response to the Internet and new media; existing subgenres will be modified, new subgenres created, and ‘fictions of the Internet’ may even be recognized as a distinct genre itself. Indeed, the ongoing digitization of books and the use of transmedia storytelling force us to rethink existing literary theories, concepts, and methods. In recent decades, traditional narratology and interdisciplinary narrative research have expanded with the ongoing development of a host of new approaches, leading to an increasingly transgeneric, intermedial, and interdisciplinary narrative theory. ‘Fictions of the Internet’ is a valuable addition to this field and offers a new set of analytical tools for exploring narrative and storytelling, opening up new works, concepts, methods, and horizons for research. Most interestingly, Weigel-Heller discusses how narrative structure changes through the intimation of new media. However, the works that she reviews are interesting not only for the sake of their newness. On the contrary, there is much they can expose about what was previously regarded as normal, canonical, or valuable, in terms of both literature and literacy. is...

Figures of Memory

Artikelbeginn:[English title and abstract below] Als global bekanntes Erinnerungsnarrativ nimmt Das Tagebuch der Anne Frank (erste deutsche Fassung 1950) einen bedeutenden Part in der Holocaust Education ein. Dabei beteiligt sich die grafische Adaption von Ari Folmans und David Polonskys Das Tagebuch der Anne Frank. Graphic Diary (2017) auf zweierlei Art am Fortschreiben des kulturellen Gedächtnisses; einerseits in seiner Geformtheit durch die Publikation selbst und darüber hinaus in seiner Organisiertheit aufgrund der institutionalisierten Kommunikation (vgl. Assmann 1988, S. 12). Figures of MemoryAnne Frank’s Diary between Text and Image, Word and Symbol Anne Frank’s Diary: The Graphic Interpretation by Ari Folman and David Polonsky (2017) is a recent addition to a sequence of editions that have shaped the perception of Anne Frank’s story. At the same time, the ethics and aesthetics of remembrance have been consistently discussed. These discussions have been fueled by discourses on memory as well as by the reimagination of the past by new generations. As Marianne Hirsch states »Postmemory’s connection to the past is [...] actually mediated not by recall but by imaginative investment, projection, and creation« (Hirsch 2012). Ari Folman and David Polonsky work with those imaginative approaches and reshape historical events on the visual and the verbal narrative levels. As with Waltz with Bashir (2009), on which Folman and Polonsky collaborated successfully as author and illustrator, Anne Frank’s Diary is also an extraordinary testimony of war based on extensive research. Intermedial references, such as historical photographs, documentaries and journal entries add authenticity to Anne Frank’s Diary: The Graphic Interpretation and lead the reader on a journey back in time. This article discusses the relationship between the visual representation of memory in the Diary and how it goes about narrating the story, and it examines this graphic novel’s potential for shaping and reshaping the reader’s perception of history.

Reference and comparison values for ecological indicators in assessing restoration areas in the Atlantic Forest

Abstract Information on reference values is one of the great demands in ecological restoration, as they enable evaluating the restoration progress and taking adaptive management measures. Here we aimed to: (i) verify whether ecological indicators are influenced by the area of reference ecosystems (mature fragments); (ii) determine reference and comparison values for comparing the restoration progress; and (iii) check how long restoration forests take to reach naturalness values that are like the reference ecosystems (and can therefore be considered restored). We used the Brazilian Atlantic Forest as an object of study and compilated information about 967 secondary, mature and restoration forests in a wide geographical extension. In total, 14 ecological indicators were assessed in a sampling area of 1,928,024 m2. We used simple linear regression to analyze the data and descriptive statistics for creating the reference and comparison values. We found that ecological indicators were not related to the area of mature fragments. Thus, they are useful for monitoring reference ecosystems of different sizes, and more attention can be given to the degree of conservation of the ecosystems. We defined intermediate and final reference values from secondary and mature forests, respectively. We also established comparison values for several restoration stages using data of planting, assisted and unassisted restoration areas. At the same time, we applied the concept of naturalness in restoration and obtained a continuum of naturalness, which was very useful for tracking the restoration progress. With the reference and comparison values determined, restoration practitioners can evaluate their restoration areas by comparing their monitoring results with ours. Moreover, by using the naturalness concept we verified that indicators can have different restoration trajectories. Some indicators reached similar naturalness levels as references from the beginning of restoration, but others required between one and two decades to recover. This study is the first to create evaluation criteria for forest restoration based on a large data set, and we hope that similar studies can be developed in other biomes.

Trajectory Regulating Model Reference Adaptive Controller for Robotic Systems

The new trajectory regulating model reference adaptive controller (TRMRAC) has been proposed in this brief. The intermediate reference model in the TRMRAC is self-regulated to enhance the stability and robustness of adaptation, with the trajectories of the controlled system proven to be ultimately uniformly bounded. The developed controller is implemented and simulated in a multivariable robotic arm system with its system dynamics approximated by a neural network, showing superior stability characteristics even under unmodeled actuator dynamics and input saturation. To demonstrate its practicality, a nested version of the controller was tested on a quadcopter for quaternion attitude tracking, showing enhanced robustness over the conventional model reference adaptive control strategy.

Misperception of motion in depth originates from an incomplete transformation of retinal signals.

Depth perception requires the use of an internal model of the eye-head geometry to infer distance from binocular retinal images and extraretinal 3D eye-head information, particularly ocular vergence. Similarly, for motion in depth perception, gaze angle is required to correctly interpret the spatial direction of motion from retinal images; however, it is unknown whether the brain can make adequate use of extraretinal version and vergence information to correctly transform binocular retinal motion into 3D spatial coordinates. Here we tested this hypothesis by asking participants to reconstruct the spatial trajectory of an isolated disparity stimulus moving in depth either peri-foveally or peripherally while participants' gaze was oriented at different vergence and version angles. We found large systematic errors in the perceived motion trajectory that reflected an intermediate reference frame between a purely retinal interpretation of binocular retinal motion (not accounting for veridical vergence and version) and the spatially correct motion. We quantify these errors with a 3D reference frame model accounting for target, eye, and head position upon motion percept encoding. This model could capture the behavior well, revealing that participants tended to underestimate their version by up to 17%, overestimate their vergence by up to 22%, and underestimate the overall change in retinal disparity by up to 64%, and that the use of extraretinal information depended on retinal eccentricity. Since such large perceptual errors are not observed in everyday viewing, we suggest that both monocular retinal cues and binocular extraretinal signals are required for accurate real-world motion in depth perception.

Radiometric Cross-Calibration for Multiple Sensors with the Moon as an Intermediate Reference

The instrument cross-calibration is an effective way to assess the quality of satellite data. In this study, a new me-thod is proposed to cross-calibrate the sensors among satellite instruments by using a RObotic Lunar Observatory (ROLO) model and Apollo sample reflectance in reflective solar bands (RSBs). The ROLO model acts as a transfer radiometer to bridge between the instruments. The reflective spectrum of the Apollo sample is used to compensate for the difference in the instrument’s relative spectral responses (RSRs). In addition, the double ratio between the observed lunar irradiance and the simulated lunar irradiance is used to reduce the difference in instrument lunar viewing and illumining geometry. This approach is applied to the Moderate Resolution Imaging Spectroradiometer (MODIS), the Sea-Viewing Wide Field-of-View Sensor (SeaWiFS), and the Advanced Land Imager (ALI) on board three satellites, respectively. The mean difference between MODIS and SeaWiFS is less than 3.14%, and the difference between MODIS and ALI is less than 4.75%. These results indicate that the proposed cross-calibration method not only compensates for the RSR mismatches but also reduces the differences in lunar observation geometry. Thus, radiance calibration of any satellite instrument can be validated with a reference instrument bridged by the moon.

Quotations in Roman Prose as Intermedial Phenomena

Abstract This article takes as its starting point the observation that quotations in Latin prose are largely characterised by features of oral communication. It analyses four passages from Cicero, Suetonius, Gellius, and Servius so as to outline how these quotations bridge the verbal and the written, and can therefore be classified as covert intermedial representations. Specific formulae which shape text passages as quotations include both explicit markers such as ferunt (‘they say’) and dixit (‘he said’), as well as implicit hints ranging from demonstrative pronouns (illud, haec) to conjunctions (ut, sicut). These linguistic tags are read within the frameworks of ‘intermedial reference’ and ‘remediation’, thereby yielding insights on how oral and written features meld into the literary quotations of Roman prose. What is more, this chapter demonstrates the merits of its approach to Classical literature by showing that an awareness of media and medialities is conducive to original interpretations of well-studied ancient texts.

From the “Mutual Illumination of the Arts” to “Studies of Intermediality”

This article offers an overview of the development of the interdisciplinary study of the interrelations of the arts and media during the past one-hundred years. From a focus on the binary relations of literature and the visual arts, music, and film these investigations turned into what came to be called “Interarts Studies” with a new tendency to include the interrelations of non-verbal arts and also to study configurations of a decidedly non-artistic nature. In the 1990s this would lead to the reconception of the arts as well as the applied arts and some non-artistic genres as media and their interrelations as intermediality. Simultaneously there began full-fledged attempts to construct a theoretical foundation for the study of intermediality (and transmediality) as a humanistic field, emphasizing media combination, intermedial reference, and intermedial transposition, especially adaptation. This article highlights developments in the German- and English-language discourse on these matters.

DER WOHLTEMPERIERTE ERZÄHLER: DIE GEWALT AMBIVALENTER ERZÄHLUNG IN HEINRICH VON KLEISTS ‘DIE HEILIGE CÄCILIE ODER DIE GEWALT DER MUSIK’

ABSTRACTThe article approaches the violent potential of music in Kleist's short story ‘Die Heilige Cäcilie oder Die Gewalt der Musik’ by exploring intermedial references to music. How is music connected not only to power but also to violence? Which characteristics of music (and of the language used to describe it) are highlighted in this process? In the story, music appears less as sonority and more as bodily experience and therefore the experience of music and of violence become ambiguous and difficult to tell apart. As a result, all the dichotomies in which music and violence are usually firmly integrated, such as body and spirit, order and chaos, pleasure and pain, male and female, start to break down. The narrator equalises these perceived dissonances by adding further inconsistencies, in a similar way to tempered tuning that slightly compromises the intervals of just intonation. The ambiguous relation of music, violence, and power cannot be resolved; the ambivalent tension it creates demonstrates performatively the manipulative power of language.

Torquato Tasso på (kryds og) tværs

The article contributes to research into the topos of furor poeticus or poetic madness and its prominence during the romantic period. In particular, it compares how the life story of the mad Italian poet from the Renaissance, Torquato Tasso, was represented in fictionalized versions across media and art forms. Romantic versions of Tasso’s life in drama (Wolfgang Goethe and B. S. Ingemann), poetry (Lord Byron), painting (Eugène Delacroix) and instrumental music (Franz Liszt) are analyzed with the aim of highlighting which aspects of Tasso’s life are portrayed, how the affordances of the medium affect the depiction and how intermedial references and transpositions are in play. In addition to intermediality theory, the transmedial narratology of Werner Wolf is introduced and employed to compare to what degree the different media and art forms can convey prototypical aspects of narrativity. Moving from the most prototypical to the least prototypical narrative genre, the article finds that the more representations of Tasso focus on his time spent in a madhouse, the more the narrative stresses experientiality at the expense of investment in plot development. The affordances of strong narrative media and strong and weak narrative-inducing media may highlight different aspects of the experientiality of furor poeticus, but in all cases the representation of Tasso is performed in an innovative romantic style.

Strategic framing to influence clients\u2019 risky decisions

This paper develops a model of persuasive demand inducement in the expert–client relationship. The expert frames the decision on whether or not to buy expert services faced by a client with prospect-theoretic preferences, by making the client see this decision from the perspective of a particular reference point. When inducing a client to buy risky curative services, the expert should set a high reference point, and frame all outcomes as losses. When instead inducing a client to buy safe preventive services, as long as the client’s loss aversion is sufficiently high, the expert should set an intermediate reference point, framing high outcomes as gains and low outcomes as losses.

Music and Latency in Teju Cole’s Open City: Presences of the Past

This article sets out to explore configurations of literary musicality in Teju Cole’s novel Open City (2011), seeking to show how intermedial relations between literature and music are linked to the novel’s exploration of colonial and postcolonial histories of violence and suffering. Although Open City contains a large number of intermedial references, their role thus far has only been given little attention. We argue that a close examination of intermediality is crucial to understanding the specific ways in which the novel engages with transcultural histories, global memory politics and cosmopolitanism. Both supporting and extending but also displacing and contradicting the larger verbal context, intermedial references in Open City produce a surplus of meaning that resists congealing into narrative structure and that gestures towards something else, something latent. The intermedial references to music evoke the ghostly presences of the past, of transcultural histories of violence and suffering which remain largely unacknowledged in dominant discourses. As intermedial references to music persistently hint at the latencies, disjunctions and elisions within established orders of knowledge, they invite a “contrapuntal reading” (Said 32) of the western archive. To come to a fuller understanding of the novel’s intermedial poetics, our essay will firstly provide a brief definition of the concept of intermediality, showing how references to music in particular are connected to concepts of latency and atmosphere (Part 2). In Part 3 and Part 4 we will investigate configurations of literary musicality in Open City , focusing in particular on the novel’s structural imitation of the fugue and its contrapuntal organisation.

Vom Premake zum Remake: Gender-Diskurse und intermediale Bezüge in den Deutschen Verfilmungen der Kinderromane Erich Kästners by Tao Zhang

Reviewed by: Vom Premake zum Remake: Gender-Diskurse und intermediale Bezüge in den Deutschen Verfilmungen der Kinderromane Erich Kästners by Tao Zhang Sebastian Schmideler VOM PREMAKE ZUM REMAKE: Gender-Diskurse und intermediale Bezüge in den deutschen Verfilmungen der Kinderromane Erich Kästners [From Premake to Remake: Gender-Discourses and Intermedial References in German Film Adaptations of Erich Kästner's Children's Books] By Tao Zhang. Series: Studies in European Children's and Young Adult Literature; 3. Universitätsverlag Winter, 2018. 213 pages. ISBN: 978-3-8253-6661-2 From the very outset, Erich Kästner's stories have been explored in many different media, with Kästner himself participating in this intermedial rewriting. Film was one of the most important media for Kästner. The first film adaptation of Emil and the Detectives from 1931, based on a screenplay by Billy Wilder, even wrote film history because it was the first-ever full-length feature sound film for children. Since then, countless film adaptations have followed, many of them media-historical milestones. In her doctoral dissertation, Tao Zhang looks at a representative selection of Germanlanguage adaptations of four of Erich Kästner's novels for children (Emil and the Detectives, Anna Louise and Anton, The Flying Classroom, and Lottie and Lisa / The Parent Trap) from the perspective of cultural studies and analyzes them using the category of gender, "from premake to remake." Given that Erich Kästner continues to be one of the best-known German authors in general and [End Page 71] for children especially, Zhang's study is relevant far beyond German studies. In recent years, the German-language film adaptations of Kästner's books attracted a fair amount of critical attention in German studies and education. The focus, however, has been on their didactic application in classroom settings, while the filmic quality of these adaptations has remained largely neglected. And yet, the filmic dimension of these books is particularly strong and the potential for broader scholarship remarkable. This is borne out not only by the genesis of Lottie and Lisa but also by the strong presence of filmic narratives in Emil and the Detectives and its sequel. In fact, one often has the impression that the books themselves were conceived from the very beginning to be used on many media platforms, which would explain why Kästner's children's books have almost magically attracted the attention of the film industry for almost a century now, with the various adaptations always reflecting the specific aesthetic of their times. The different film adaptations reveal the changes in mentality and popular culture just as the novels themselves, so both can be viewed as historical documents of popular culture and be analyzed as such: with her gender-conscious focus on film theory and cinematographic narration, Zhang allows for a new, convincing reconstruction of gender aspects in children's film. Moreover, she addresses central questions of media change, transformation, and intermediality within the context of current scholarly debates on popular culture and children's literature and thus opens up new perspectives on Kästner's otherwise intensively studied work. Zhang's analysis of the specific referential structures between premake and remake within the context of intermedial studies is truly original. Zhang tends to have a somewhat one-sided focus on the story level concerning genderspecific character behavior and misses out on the many media-specific features of the film adaptation, which seem difficult to capture from this methodological vantage point. With a few exceptions, production and reception contexts, such as film programs, critical essays, or reviews, are not taken into consideration. Some of the detailed analyses are missing the time stamps. Despite a promising approach to the filmic portrayal of the characters, overall Zhang could have given more prominence to the film-specific formal qualities of the adaptations (such as film music, aesthetics, and cinematographic context). Given that Kästner himself actively promoted the film adaptations of his children's books, it would have been relevant to describe his role in the original film adaptations, both as scriptwriter and collaborator, in relation to gender questions. Many questions still remain unanswered; however, the results of this precise...

Maria Teresa HortaPoint of Honour: Selected Poems of Maria Teresa Horta, Ana Raquel Fernandes

Reviews 248 Achille Mbembe’s concept of ‘necropolitics’, how Africa has long symbolized death in Western consciousness, Jones highlights the parallel between colonial and patriarchal oppression in two narratives by Momplé and Cassamo ending in the suicide of their main protagonist. If Jones’s examination of hunger and food as gendered symbols of oppression and deprivation illuminates how FRELIMO replicated the colonial connection between women and domesticity, it might have benefited from a more anthropological perspective on ‘the politics of the belly’ highlighting the intrinsic link between power and ingestion in Africa.1 Sharp and clear in its writing, ambitious and stimulating in its thematic and comparative layout and scope, Battleground Bodies is an important contribution to Lusophone African literary studies and to Lusophone postcolonial studies more generally. It is an engaging read that produces brilliant close-readings while conveying a subtle and complex understanding of Mozambique, convincingly showing the continued relevance of resistance literature in Portuguese-speaking Africa. Maria Teresa Horta, Point of Honour: Selected Poems of Maria Teresa Horta, translated by Lesley Saunders and introduced by Ana Raquel Fernandes (Reading: Two Rivers Press, 2019). 237 pages. Print. Reviewed by Ana Filipa Prata (Universidad de los Andes) Point of Honour is the first anthology of poetry by Maria Teresa Horta published in English. It presents a selection of more than eighty poems chosen by Horta herself and her husband, the late Luís Barros, and translated by Lesley Saunders, a contemporary British poet. This book constitutes a landmark in the reception of this major Portuguese poet who is mostly known internationally for being the author, together with Maria Velho da Costa and Maria Isabel Barreno, of the Novas Cartas Portuguesas [New Portuguese Letters], published in 1972. The chosen title for this collection — taken from one of the poems — is a very enlightening editorial decision: this anthology is meant to be a real point of honour for Horta’s literary work; it is both a poetic statement and a moment of consecration of a singular and revolutionary voice that has shivered patriarchal discourses and conservative mores in Portugal throughout the last decades. Maria Teresa Horta has been consistently publishing since 1960, from the inaugural Espelho incicial [First Mirror] to Estranhezas [Oddities], her last book published, in 2018. Horta has thoroughly cultivated a poetic work that is nowadays unanimously considered groundbreaking in both rhetorical and thematic terms, elaborating sensual and erotic expression, defying a conventional representation of womanhood and its imagery, aiming at the creation of an independent feminine discursive location. This anthology gives an account of this historical evolution and poetic consolidation; each of Horta’s 1 Jean-François Bayart, The State in Africa: The Politics of the Belly, 1st English edn (London: Longman, 1993). Reviews 249 books published from the ’60s up to the first decades of the twenty-first century is represented by two to five poems, which fosters a comprehensive approach to her profuse poetic creation. This bilingual edition opens with an introduction by Ana Raquel Fernandes, whose recent research draws mainly on female Portuguese and English authors. Fernandes provides very valuable information on Horta’s literary trajectory, but also on the political and social commitment of the author during the times of dictatorship, stressing her engagement in the defence of women’s rights. Fernandes briefly comments on several poems and highlights the main themes in Horta’s poetry such as women’s bodies and sexuality, social and literary insubordination, the representation of mother and motherhood, and the intertextual and intermedial references often present in her poetry, especially in her recent publications. There follows a translator’s note in which Lesley Saunders comments on her first approach to Maria Teresa Horta’s poetry, how she came to meet her, and how these translations are the result of a fruitful dialogue between these two poets. Even if Saunders does not have a deep knowledge of Portuguese language — as she admits — she has managed through the dialogue with the author to immerse herself in the poetic essence of Horta’s poetry and ‘bring it across’ to English-speaking territory. The thorough translations by Lesley Saunders are an example of what Haroldo de Campos called ‘transcreation’: Saunders goes beyond...

МУЗИКА І СЛОВО В РОМАНІ ДІНИ РУБІНОЇ «БІЛА ГОЛУБКА КОРДОВИ»

Стаття присвячена аналізу «музичного» шару роману Діни Рубіної «Біла голубка Кордови». Автор статті дойшов висновку, що цей шар представлений цілою низкою інтермедіальних посилань (intermedial references – І. Раєвська), які реалізовані на різних рівнях тексту. Відповідно до класифікації, запропонованої В. Вульф, їх можна також позначити поняттям «інтермедіальна тематизация». Інтермедіальні посилання виконують у романі Рубіної в першу чергу характерологічну функцію, маючи при цьому найрізноманітніші форми: ім’я персонажа, опис виконання музичного твору або танцювального номера, музичні метафори і порівняння як частина портретної характеристики персонажа тощо. Випадки включення в текст твору слів пісні розглядаються як приклади інтрамедіальності. Музичні прийоми застосовуються для організації художнього світу «Білої голубки Кордови», стають засобом характеристики просторового середовища, у якому розгортається дія. Основу архітектоніки роману становить діалог між головним героєм – художником Кордовіним, який сприймає світ у якості мальовничого полотна, і наратором – професійним музикантом, для якого світ – це гармонія звуків і ритмів. Музичні прийоми визначають будову сюжету, що складається із взаємодії окремих тем, розвиток яких імітує розгортання музичних лейтмотивів і визначає специфіку композиції твору, яку можна порівняти з музичної симфонією. Принципи організації роману, запозичені з інших видів мистецтва – музики, живопису, кінематографу – розглядаються автором статті в якості перспективи подальшого дослідження поетики твору.

Intermidialidade

Partindo da conceituação de intermidialidade – termo recente usado para denominar o fenômeno antigo que trata das relações entre textos concebidos em sistemas semióticos distintos –, o ensaio pretende explorar a interrelação entre representações verbais e mídias, iniciando pelas subcategorias da intermidialidade apontadas por Irina Rajewsky – combinação de mídias, transposição (inter)midiática e referência intermidiática – e apresentar, em seguida, alguns problemas inerentes a elas.

Intertextuality and intermediality in Janice Galloway’s ‘Scenes from the Life’ (Blood 1991)

Abstract Janice Galloway’s ‘Scenes from the Life’ are a set of five pieces collected in Blood (1991), her first book of stories. As in the case of the rest of her production, these stories are highly experimental texts that convey the author’s criticism of dominant patriarchal ideology by rehearsing different combinations of narrative, intertextual and intermedial elements, which entail different modalities of intratextual witnesses of the action and potential surrogates of the reader. Resorting to Irina O. Rajewsky’s concepts of ‘intertextual reference’ and ‘intermedial reference’ as analytical tools, this article reorders the otherwise random appearance and numbering of the five pieces by establishing a logical line of progression derived from the different proportions of intertextual and intermedial referencing that each of the text contains. Though they remain stories, ‘Scenes from the Life’ are good examples of the author’s poetics of liminality, which, according to recent commentators, the short story comes closer to than any other literary genre.

Harmonisation and trends of 20-year tropical tropospheric ozone data

Abstract. Using a convective-cloud differential (CCD) method, developed in-house and applied to retrievals of total ozone and cloud data from three European satellite instruments (viz. GOME/ERS-2, 1995–2003; SCIAMACHY/Envisat, 2002–2012 and GOME-2/MetOp-A, 2007–2015), monthly mean tropical tropospheric columns of ozone (TTCO) have been retrieved, which are in good agreement with ozonesondes (biases less than 6 DU). As small differences in TTCO between the individual instruments were evident, it was necessary to develop a scheme to harmonise the three datasets into one consistent time series starting from 1996 until 2015. Correction offsets (biases) between the instruments using SCIAMACHY as intermediate reference have been calculated and six different harmonisation or merging scenarios have been evaluated. Depending on the merging approach, the magnitude, pattern and uncertainty in the trends strongly vary. The harmonisation or merging represents an additional source of uncertainty in the trends (2 DU decade−1 on average, in most of the cases exceeding the uncertainty from the regression). For studying further details on tropospheric ozone trends on various spatial scales in the tropics, we stick with one preferred merged dataset that shows best agreement with ozonesondes. In this merged dataset, no correction was applied for GOME, and mean biases with respect to SCIAMACHY in the overlapping period (2007–2012) were calculated and applied for GOME-2 in each grid box (2.5° × 5°). In contrast with other studies we found that the tropospheric trend averaged over the tropics (−15° S to 15° N) is not statistically significant. The mean tropospheric ozone trend equals −0.2 ± 0.6 DU decade−1 (2σ). Regionally, tropospheric ozone has a statistically significant increase of ∼ 3 DU decade−1 over southern Africa ( ∼ 1.5 % yr−1), the southern tropical Atlantic ( ∼ 1.5 % yr−1), southeastern tropical Pacific Ocean ( ∼ 1 % yr−1), and central Oceania ( ∼ 2 % yr−1) and by ∼ 2 DU decade−1 over central Africa (2–2.5 % yr−1) and south India ( ∼ 1.5 % yr−1). On the other hand, tropospheric O3 decreases by ∼ 3 DU decade−1 over the Caribbean Sea and parts of the North Pacific Ocean ( ∼ 2 % yr−1), and by less than 2 DU decade−1 over some regions of the southern Pacific and Indian oceans ( ∼ 0.5–1 % yr−1).

INTERMEDIALITY AND EKPHRASIS IN LATIN EPIC POETRY

The concept of intermediality arose in the theoretical discourse about the relations between different systems or products of meaning, such as the relations between music and art, or image and text. The word gained currency in the 1980s in German- and French-language studies of theatre performance, and in scholarship on opera, film, and music, in order to capture the notion of the interconnections between different art forms. For reasons of utility, the concept has been divided into three kinds: intermediality may refer to the combination of media (as in opera, in which music, dance, and song are conjoined into one aesthetic experience); the transformation or transposition of media (as in a film version of a book); and intermedial references or connections, whereby attention is drawn to another system of meaning, as in the references in literature to a work of art. The term has entered the field of classics especially via the study of the relations between the narrative and inscriptional modes in literary epigram.

A Methodology to Determine Recipe Adjustments for Multispectral Composites Derived from Next-Generation Advanced Satellite Imagers

AbstractThe European Organisation for the Exploitation of Meteorological Satellites (EUMETSAT) began creating multispectral [i.e., red–green–blue (RGB)] composites in the early 2000s with the advent of the Meteosat-8 Spinning Enhanced Visible and Infrared Imager (SEVIRI). As new satellite sensors—for example, the Himawari-8 Advanced Himawari Imager (AHI) and the Geostationary Operational Environmental Satellite Advanced Baseline Imager (ABI)—become available, there is a need to adjust the EUMETSAT RGB standard thresholds (i.e., recipes) to account for differences in spectral characteristics, spectral response, and atmospheric absorption in order to maintain an interpretation consistent with legacy composites. For the purpose of comparing RGB composites derived from nonoverlapping geostationary sensors, an adjustment technique was applied to the Suomi National Polar-Orbiting Partnership (Suomi-NPP) Visible Infrared Imaging Radiometer Suite (VIIRS) to create an intermediate reference sensor (i.e., SEVIRI proxy). Brightness temperature offset values between each AHI and SEVIRI proxy band centered near 3.9, 8.6, 11.0, and 12.0 µm were determined with this technique and through line-by-line radiative transfer model simulations. The relationship between measured brightness temperature of AHI and the SEVIRI proxy was determined though linear regression similar to research by the Japan Meteorological Agency. The linear regression coefficients were utilized to determine the RGB recipe adjustments. Adjusting the RGB recipes to account for the differences in spectral characteristics results in RGB composites consistent with legacy EUMETSAT composites. The methodology was applied to an example of the Nighttime Microphysics RGB, confirming the Japan Meteorological Agency adjustments and demonstrating a simple methodology to determine recipe adjustments for RGB composites derived with next-generation sensors.