Semantics

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By L. Elleström

This can be a methodical examine of the cloth and psychological limits and probabilities of moving info and media characteristics between multiple media. Elleström proposes a version for pinpointing the main very important conceptual entities and phases in intermedial transfers regarding varied media varieties akin to speech, writing, track, movies, and internet sites.

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Compound media characteristics should be understood as features of media products that are apprehended and formed when a structuring and interpreting mind makes sense of the mediated sensory configurations; thus, although triggered by material input, compound media characteristics are ultimately cognitive entities. They may be widely spread or strongly linked to a certain modality mode or specific media product. Given that qualified media are groupings of media products, certain compound media characteristics tend to be associated with certain qualified media.

Marie-Laure Ryan, among others, investigated this phenomenon and explored what she calls ‘transmedial narratology’ (2004: 35). In an elementary manner, the form-content dichotomy may help us understand what is actually transferred when narratives are transformed to other media types. On the one hand, plots and stories (the series of events as they unfold in the temporal decoding of the medium, and the series of events as they are perceived to be related to each other in the represented, virtual world) are two types of narrative sequential structures that are transferred among media.

Even if one does not want the notion of ekphrasis to be extended that far for historical or other reasons, it must be acknowledged that complex representations of media products are possible, common, and worthwhile to theorize about far beyond the conventional borders of ekphrasis. In all circumstances, poems representing paintings constitute only a tiny fragment of the broad field of complex media representation. As a curiosity, also note that traditional ekphrasis may provide us with examples of the odd phenomenon of qualified media representing media products; a painting such as Pieter Bruegel the Elder’s Landscape with the Fall of Icarus (ca.

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