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1
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SÚKROMNÉ ZBIERKY DIGITÁLNYCH ARTEFAKTOV V PROCESOCH DEMATERIALIZÁCIE KULTÚRY

100%
Rankov P.
World Literature Studies
|
2016
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vol. 8
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issue 3
3 – 14
EN
The digital remediation of collections is also the dematerialization of these collections. Concurrently with large national and international projects of digitization of cultural heritage, family and personal possessions like photograph albums, videos and letters are also remediated. The meaning of these objects originated in their own context and is linked to their emotional surplus value. These collections participate in the creation of the identity of the proprietor. When cultural content loses its material medium, in some circumstances it loses also its aura – it is no longer an artefact.
2
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OD BIOLOGICKÉHO KYBERTEXTU KU GENETICKEJ POÉZII

100%
Sýkora P.
World Literature Studies
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2013
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vol. 5 (22)
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issue 3
39 – 53
EN
The goal of this study is to show that biological texts are not „texts“ only in a metaphorical sense, but in a full post Lotmanian meaning of this term within literary studies. Genetic text written in DNA code is not a biological parallel to printed books, but rather a cyber-text in the sense of Aarseth’s definition of ergodic literature. The cyber-textual feature of living cells creates a space for the creation of new forms of remediation of literary works within biomedia. It opens new horizons for a literary work and generates new literary forms, such as genetic poetry. First, we show how biological texts fulfil the criteria of Aarseth’s cyber-text definition, than we demonstrate the process of the remediation of literary texts into biomedia on the examples of the authors Wong, Davis, Kac and Bök.
3
Content available remote

REMEDIÁCIA AKO PERPETUUM MOBILE KULTÚRY

88%
Rankov P.
World Literature Studies
|
2013
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vol. 5 (22)
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issue 3
15 – 25
EN
The process of remediation is inevitable in the transfer of knowledge and cultural values from the past to the future. Every new medium is a reconstruction of the content and form of its media predecessors. The computer is a terminal meta-medium, which remediates and simulates all previous media and through digitalization inflicts their dematerialization. Next remediation of dematerialised media will happen inside computers as transitions between different software platforms. Dematerialisation applies not only to communication media. In the mode of virtualization it intervenes in different elements and aspects of social reality.
4
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REMEDIÁCIA AKO MANIPULOVANIE S OBRAZOM (NA PRÍKLADE FOTOGRAFIE)

88%
Suwara B.
World Literature Studies
|
2013
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vol. 5 (22)
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issue 3
54 – 72
EN
Photography is considered to be an old media that remediated into the digital medium. Bolter and Grusin do not disapprove of the gesture of using new media within the old (subversive acting). The study presents this tendency on the example of specific literary works (from the current Polish and Slovak literatures), in which strategies of narration are obviously “discovered” by the authors under the influence of today’s image culture. Strategies of handling the photography used by the authors prove the fact that even the writers manipulate with the image in different ways. Modal framework of this kind of literary manipulation the photography is – surprisingly, like in the case of visual media – animation of the image.
5
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Proměny čtenářství v procesu remediace

75%
Piorecký K.
Česká literatura (Czech Literature)
|
2010
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vol. 58
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issue 4
490-509
EN
This article considers the transformation of reading, which has taken place as a result of the spread of the digital media, particularly the World Wide Web. Reading has assumed a completely different attitude towards writing, which, influenced by the interactive nature of the new media, has been put on a stronger basis. The article traces the transformation of the prerequisites of reading both using texts which employ the potential of digital media for literary experiments and the Web publication platforms, which see the Internet as a radically democratic medium for the publication of texts. In addition to these fundamental differences, both activities share three consequences in the transformation of reading: the boundary between reading and writing is being blurred; the placement of the text into a space modelled on the principles of Web design is changing the technological conditions of reading it; the advent of a new way of contextualizing a digital text placed on the Web and linked by hypertext with an almost infinite quantity of other texts (the author proposes the term virtual codex).
6
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POHYB POZA HRANICE: INTERMEDIÁLNE A TRANSMEDIÁLNE VZŤAHY

75%
Tomašovičová J.
World Literature Studies
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2016
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vol. 8
|
issue 3
29 – 39
EN
Various questions concerning relations between the old and the new media, as well as relations between different sign systems, resound in current discussions about remediation. The proposition of J. D. Bolter and R. Grusin who claim that media always comment on each other and reproduce and substitute one another gives rise to the relevant methodological question: what possible forms and qualities of mutual relationships and links between various types of media can be identified? Or, in other words, how do we specify phenomena such as intermediality and transmediality, which include the whole complex of bonds and links but at the same time, regarding their terminology, display a certain level of ambiguity? The author compares several interpretative approaches to the abovementioned phenomena that stem from German ideological concepts and aims at pointing out their possible concurrence as well as their current terminological differences. She confronts W. Wolf ’s and I. Rajewsky’s concepts of intermediality and transmediality with the more recent attempts at terminological clarification of both phenomena: by U. Wirth and R. Simanowski. At the same time, the author does not ignore the fact that the latest methodological tendencies are not isolated in their theoretical reflections but follow several relevant premises. These premises include fundamental ideological struggles that have taken place in modern art, semiotics and philosophy, viz. the crisis of representation, and poststructuralist attempts at loosening or even over-stepping the text’s limits. Both tendencies can be seen as turning points; they have modified stabilized forms and deep-rooted interpretative formulae by which they laid the foundation for the subsequent new approach to media studies that interconnects art, literary studies, philosophy and digital technology.
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