Titlebook: Media Borders, Multimodality and Intermediality; Lars Ellestr?m (Professor of Comparative Literatur Book 2010 Palgrave Macmillan, a divisi

根深蒂固

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書目名稱Media Borders, Multimodality and Intermediality被引頻次




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書目名稱Media Borders, Multimodality and Intermediality讀者反饋




書目名稱Media Borders, Multimodality and Intermediality讀者反饋學(xué)科排名

octogenarian

無(wú)聊的人

Translating Sounds: Intermedial Exchanges in Amy Lowell’s ‘Stravinsky’s Three Pieces “Grotesques”, for audience have a specific understanding of what we recognize to be a certain medium, but also the medium itself intrinsically incorporates and conveys its ‘image’, its version of mediality, either by self-referentially and self-reflexively pointing to its own medial status, by referring to other m

Coronation

‘Transgenic Art’: The Biopoetry of Eduardo Kacporary media technology for artmaking, a development documented in . (2005), a collection of Kac’s essays published between 1992 and 2002,. with the essays grouped under the headings ‘Telecommunications, Dialogism and Internet Art’, ‘Telepresence Art and Robotics’ and ‘Bio Art’. The most notorious o

來(lái)自于

Cirrhosis

Media in the Cinematic Imagination: Ekphrasis and the Poetics of the In-Between in Jean-Luc Godard’sten been described in terms of the . ideal — is not a result of an additive process (a unity of moving pictures, language, sound and so on), but consists of a very unstable set of interrelationships that has undergone many changes in its configuration throughout its technical and stylistic history.

現(xiàn)存

Arctic

動(dòng)機(jī)

recent merging of different forms of IT and how this has left organisations sus. ceptible to OSINT-supported cyber attacks. It then goes on to dissect these new threats, outlining organisational strategies for risk mitigation, before discussing emerging challenges.

良心