Cette étude porte sur la littérature italienne et sur le rapport qu’elle entretient aujourd’hui avec les nouveaux médias, surtout l’Internet. Notre analyse se concentre sur le collectif Wu Ming qui, en recourant à l’écriture collective, à l’anonymat, au copyleft et à l’utilisation des nouvelles technologies comme moyens de diffusion et de création de ses œuvres, représente un projet novateur dans le panorama littéraire contemporain. En effet, les changements introduits par Wu Ming ne touchent pas seulement le rôle et le statut de l’auteur mais ont également un impact sur la nature de l’œuvre et du texte.Grâce à Wu Ming, les histoires sont libérées du lien de la propriété privée et les récits échappent en partie à la logique commerciale pour entrer dans une réalité où le travail culturel peut être librement diffusé. À travers ce processus de diffusion et de socialisation du savoir, les membres du collectif revendiquent une approche de l’écriture qui vise l’instauration d’une République démocratique des lecteurs où les histoires, influencées par plusieurs sensibilités, se développent, se construisent, se reconstruisent et changent de cap. L’emploi des nouvelles technologies joue un rôle central dans cette démocratisation. L’Internet devient un lieu de rencontre, de conflit et de partage où le texte littéraire se déploie en soulevant des questionnements d’ordre sémiotique et ontologique. Est-il vraiment possible de parler d’une démocratisation de l’acte narratif, de la fin de l’auteur et de la désacralisation de l’œuvre ? Dans ce travail, notre but est de comprendre si la démarche de Wu Ming répond à une simple posture intellectualisante, voire à une stratégie marketing, ou si elle met véritablement en place un nouveau paradigme expressif en créant un réel espace de participation démocratique. / Abstract:The present study focuses on Italian literature and its relationship with today’s new media, especially with the Internet. Our analysis concerns the collective Wu Ming which, through the use of collective writing, anonymity, copyleft and new technologies as means of dissemination and creation of his works, represents an innovative project in the contemporary literary panorama. Indeed, the changes introduced by Wu Ming do not only affect the role and status of the author but also have an impact on the nature of the text.Thanks to Wu Ming, stories are freed from the bonds of private property and partly escape the commercial logic to enter a reality where cultural work can be freely disseminated. Through this process of diffusion and socialization of knowledge, members of the collective claim an approach to writing that aims at the establishment of a democratic Republic of the reader, where the stories are influenced by several sensibilities and thus they are constructed, develop, rebuild and change course. The use of new technologies plays a central role in such a democratisation. The Internet becomes a place of encounter, conflict and sharing, where the literary text unfolds by raising semiotic and ontological questions. Is it really possible to speak of a democratization of the narrative act, the end of the author and the desecration of the text? Throughout our work, the goal is to understand if Wu Ming's approach responds to a simple intellectualizing stance -or even a marketing strategy- or if it actually sets up a new expressive paradigm, by creating a real space for democratic participation.

Research in the field of fictional and possible worlds examines the real and its hypothetical counterparts. The interaction between the actual and the fictional is a cause of debate within this field, and includes questions concerning the ontological status of fictional characters and their relation to reality. The following discussion will engage current positions in this debate. These include questions of reference regarding the correlation between fictional characters and actual personalities. Studying the transmedial migration of character properties from fictional worlds into the actual world engages with the possible as dependent on the actual, as well as the influence fiction can have on reality, by demonstrating how individual characters are perceived as packages of properties, some of which we identify and recognize as adaptable to our own behavior. Transmedial migration requires compatibility between different media. Accordingly, it is explained through the direct correspondence of fictional properties to actual properties, and the indirect correspondence of fictional characters to actual people. I am claiming that an interaction can be observed between different media, such as fictional worlds and the actual world, with particular emphasis on the example of fictional characters and their properties. In order to comprehend this we need a robust framework and the model that I am proposing here comprises the essential elements for such a framework. The transmedial migration of character properties from a textual medium, such as a Sherlock Holmes story, into the physical, social medium of the actual world is the action of adapting a fictional character’s package of properties into an actual person’s behavior. The agency of actual people in adapting fictional character properties to their corporal, social actions is what constitutes transmedial migration. This is a specific example of behavioral learning that recognizes certain behavior by the means of a label or trademark that is acquired from a fictional character. It is conceivable that any number of behavioral attributes, such as attitudes or habits, could be scientifically proven to have transmedially migrated by means of experimentation. Nevertheless, culturally and socially, it is only the definite identification of such character properties that substantiates my argument of transmedial migration through adaptation.

Je commencerai par la question de savoir s’il est oui ou non souhaitable, nécessaire ou même possible d’élaborer une théorie unifiée d’intermédialité ou de transmédialité. J’aimerais pour l’instant laisser cette question en suspens et rappeler que nous avons assisté à des tentatives remarquables ces dernières années, ou du moins depuis les années 1980. Passer en revue les publications les plus réussies des vingt dernières années nous montre, qu’à cause des interrelations complexes et du chevauchement d’une grande variété et diversité de stratégies médiatiques et de formes de production, la tentative voulant présenter de façon claire les différenciations et les fonctions des relations intermédiales et transmédiales, a conduit dans certains cas à des définitions similaires, certains termes ayant des constituants similaires voire même identiques. Ces tentatives incluent tous types de définitions d’intermédialité et de transmédialité (ou dans une certaine mesure des termes comme "références aux médias" ("Medienbezüge"), "combinaison de médias" ("Medienkombination") et "changement de médias" ("Medienwechsel") (Rajewsky 2002 : 18 sqq.) ou le mélange de termes issus de la critique littéraire, comme l'intertextualité ou la "dialoguicité" avec des termes de la théorie médiatique.

This study aims to do the analysis of the narrative A Muralha since it was first published in feuilleton in the magazine O Cruzeiro, occurred between July 1953 and February 1954; its edition book, which was released later the same year and had several editions; and its subsequent adaptation to the homonymous television mini-series in 2000. The common thread of these media transitions is feuilletonistic language, which receives a reinterpretation from the perspective of transmediality. From this, we have proposed that the term transmedia feuilleton, which refers to the ability of a narrative through different media. A Muralha, written by Dinah Silveira de Queiroz, the saga of the Don Braz's family, leader of a group of pioneers inclined to brave Brazil during the late seventeenth century and begin the construction of the city of São Paulo. The TV mini-serie written by Maria Adelaide Amaral, keeps the history of battles and romance, accentuates melodrama and adds characters and themes to the narrative produced by Globo TV. The methodology is based on a comparative analysis of the issues of A Muralha in the magazine O Cruzeiro, the literary work, and the TV mini-serie on DVD. To comprehend the transition from narrative by different media and to reinterpret the feuilletonistic language from the transmedia perspective, a literature review was performed from the dialogic notions to the latest study of currents, as intermediality, the transficionality and transmediality. We have opted for the transmediality and the fundamental result of the work are the contribution to a broader view at transmedia objects, which is not limited only to contemporary narratives, as advocated by Henry Jenkins, author of Convergence Culture proposal. Thus, by a comparative method, we list elements present in feuilletonistic language and which may be considered basic theory transmediality purposes. Finally, an example is this approach through the research object A Muralha, concluding that it is possible to reinterpret the feuilletonistic narrative by the bias of transmediality because the language, both in terms of content and its format, provides the transition their narratives by different media. The expansion of transmedia proposal thus adjust to a context that does not inaugurate the transmedia processes, but promotes an effervescence of its creations. / O presente trabalho tem como objetivo realizar a análise da narrativa A muralha desde sua primeira publicação, em formato de folhetim na revista O Cruzeiro, ocorrida entre julho de 1953 e fevereiro de 1954; sua edição em livro, que foi lançado ainda no mesmo ano e teve várias reedições; e sua posterior adaptação para a minissérie televisiva homônima, no ano 2000. O fio condutor dessas transições midiáticas é a linguagem folhetinesca, que recebe na pesquisa uma releitura sob a perspectiva da transmidialidade. A partir disso, propõe-se o termo folhetim transmídia, que se refere à capacidade de uma narrativa de transitar por diferentes mídias. A muralha, escrita por Dinah Silveira de Queiroz, conta a saga da família de Dom Braz Olinto, líder de um grupo de bandeirantes dispostos a desbravar o Brasil durante o fim do século XVII e dar início à construção da cidade de São Paulo. A minissérie, de autoria de Maria Adelaide Amaral, mantém a história de lutas e romances, acentua o melodrama, e acrescenta personagens e temas à trama produzida pela Rede Globo de Televisão. A metodologia utilizada tem como base uma análise comparativa entre as edições de A muralha na revista O Cruzeiro, a obra literária, e a minissérie em DVD1. Para compreender a transição da narrativa pelas diferentes mídias e realizar uma releitura da linguagem folhetinesca a partir da perspectiva transmidiática, foi realizada uma revisão teórica desde as noções de dialogismo até as correntes de estudo mais recentes, como a intermidialidade, a transficcionalidade e a transmidialidade. Opta-se pela transmidialidade e o resultado fundamental do trabalho é a contribuição para um olhar mais amplo sobre objetos transmídia, que não se limite apenas a narrativas da contemporaneidade, como defende Henry Jenkins, autor da proposta da cultura da convergência. Assim, através de uma metodologia comparativa, elencam-se elementos presentes na linguagem folhetinesca e que podem ser considerados como propósitos básicos da teoria da transmidialidade. Por fim, exemplifica-se essa aproximação através do objeto de pesquisa A muralha, concluindo-se que é possível realizar uma releitura de narrativas folhetinescas pelo viés da transmidialidade, pois a linguagem, tanto em termos de conteúdo quanto de seu formato, propicia a transição de suas narrativas por diferentes mídias. A ampliação da proposta transmidiática, assim, afina-se a um contexto que não inaugura os processos transmidiáticos, mas promove uma efervescência de suas criações.

De Janvier à avril 1857 José de Alencar a publié le roman "O Guarani" sur les pages du journal Diario do Rio de Janeiro, et il est devenu son plus grand blockbuster. Après cela, le travail qui est né au bas des pages de journaux seraient assemblés sous forme de livre, transformé en opéra, a traversé le vingtième siècle avec différentes versions du film et est arrivé à la XXI siècle avec plus d'une version à BD. Cette recherche permettra de vérifier, à partir de la version du journal, les éléments de ce roman qu’ont été incorporés dans la composition de l'œuvre par l'auteur, et comment ces éléments ont été assimilés ou éliminés lorsque transposée à d'autres types de médias. Pour atteindre ces objectifs, la recherche sera basée sur le travail de Marie-Ève ​​Thérenty sur les relations entre littérature et le journalisme au XIXe siècle, spécialement sur la tension dialectique entre la presse et de la littérature. La recherche sera basée également sur le support théorique des auteurs comme Antonio Cândido, Marlyse Meyer, Umberto Eco, Roger Chartier et Frédéric Barbier, pour obtenir le concept de l'intermédialité travers te travaux d'auteurs comme Alfonso De Toro et d'autres liées à ce domaine de recherche . À la fin des travaux, il est prévu de montrer que la transposition du roman qui est né dans les pages de journaux à différents supports pendant deux siècles peut caractériser O Guarani comme le premier produit avec un potentiel multimédiatique de l'histoire culturelle brésilienne. / From January to April 1857 José de Alencar has published the novel “O Guarani” at the pages of Rio de Janeiro Diary, a daily newspaper, and it became his biggest blockbuster. After that, the work that was born at the bottom of the newspaper pages would be assembled in a book form, transformed into opera, crossed the twentieth century with various film versions and arrived to the XXI century with more than one version in HQ. This research will check, from the newspaper version, which elements of that novel were incorporated in the composition of the work by the author, and how these elements were assimilated or eliminated when transposed to other kinds of media. To achieve these goals, the research will be based on the work of Marie-Ève Thérenty about the relations between literature and journalism in the nineteenth century, specially focused on the dialectical tension between press and literature. The research will be based also on the theoretical support of authors like Antônio Cândido, Marlyse Meyer, Umberto Eco, Roger Chartier and Fréderic Barbier, to get the intermediality concept through te work of authors like Alfonso De Toro and others related to this field of research. At the end of the work, it is expected to show that the transposition from the novel that was born at the newspaper pages to different supports during two centuries may characterize O Guarani like the first product with multimediatic potential of Brazilian cultural history.

Au début des années 1970, en France, la science-fiction constituée en subculture connaît son moment contre-culturel, à la croisée des médias et des revendications en légitimité, avec le long métrage d’animation de Laloux (La Planète sauvage, 1973), les revues de bandes dessinées « adultes » (Métal hurlant, 1975, notamment Mœbius et Bilal) et la politisation de l’écriture du genre qui se positionne par rapport à l’héritage des expériences formelles de la New Wave et à l’idéologie contestataire de Mai 68 (Andrevon, Les Hommes-machines contre Gandahar, 1969). Trente ans plus tard, dans le contexte de la révolution multimédia qui fait converger jeu vidéo, cinéma à effets spéciaux et animation de synthèse, les novellisations de Bordage tirées d’un jeu vidéo (Atlantis, 1998) et d’un dessin animé en 3D (Kaena, 2003) interrogent les rapports encore assez étanches entre littérature de science-fiction et nouveaux médias en France, à l’aube du régime numérique de consommation des fictions de masse. À partir de ce domaine et de cette période d’étude, cette thèse envisage l’intermédialité dans la science-fiction française comme construction historique et discursive produite par les acteurs, lieu de négociation des représentations du genre et de ses conflits de définition, par rapport au domaine américain, à la question industrielle et à la figure de l’auteur. Elle en identifie trois moments historiques, en comprenant le terme moment dans son sens temporel de « durée » comme dans son sens physique de « mesure d’une dynamique en synchronie ». Ce parcours historique des formes et des discours de l’intermédialité dégage les lignes évolutives du « macro-texte » français (Bréan), en montrant comment il se positionne par rapport aux logiques du « mega-text » (Broderick). Il conduit, dans un deuxième temps, à interroger comment les romans, les bandes dessinées, les dessins animés, les films et les jeux vidéo font science-fiction par rapport à cet ancrage culturel, du point de vue sémiotique, cognitif et narratif. Les modalités sémiotiques de l’effet-SF sont clarifiées par la distinction entre étrangetés de monde (novums) et étrangetés de forme (estrangement), toutes deux dépendantes de déterminations architextuelles médiatiques et génériques. La relecture des propositions de Suvin permet ainsi de construire une grille d’analyse intermédiatique de la poétique culturelle du genre. Le novum visuel fait l’objet d’une enquête spécifique, pour être ensuite confronté aux leviers verbaux de l’étrangeté et pour envisager une intersémiotique narrative du genre dans les médias plurisémiotiques (bande dessinée, cinéma, animation, jeu vidéo). Le troisième temps de la thèse fait passer au niveau des mondes, pour considérer l’articulation des étrangetés non plus dans une œuvre, mais entre des œuvres de médias différents ayant en partage une même fiction. En discutant notamment le concept de transfictionnalité (Saint-Gelais) et les travaux de Besson et de Letourneux sur les univers fictionnels contemporains massivement transmédiatiques, on distingue quatre dynamiques intermédiatiques de construction de monde (monde à bâtir, monde à varier, monde en hélice et monde à jouer). Il s’agit de cibler la spécificité du biotope français en matière d’« effet-monde » science-fictionnel, mais aussi de proposer des modèles utiles à l’analyse d’autres réalités culturelles. / At the beginning of the 1970s, in France, science fiction subculture engages in its countercultural moment. Contestations and claims of legitimacy come from different media: Laloux defends a national, artisanal and engaged conception of animation (La Planète sauvage, 1973), French “bande dessinée” shows new aesthetic and graphic ambitions in magazines referring to themselves as “adult” (Metal hurlant, 1975, with a special focus on Mœbius and Bilal), and literary science fiction becomes more and more politicised, confronted to the legacy of the British New Wave and to the ideology born with Mai 68 (Andrevon, Les Hommes-machines contre Gandahar, 1969). Thirty years later, the “multimedia revolution” implies a technical and cultural convergence between videogames, hyperrealistic special effects in cinema, and 3D computer generated animation movies. In this context, the novelizations of Pierre Bordage (Atlantis, 1998, adapted from an adventure video game by Cryo Interactive, and Kaena, 2003, from a European 3D digital animation movie) question the still rare interactions between literature and “new media” in French science fiction, at the turning point of the 2000s and as we move into the digital moment of existence of popular fictions. Considering this area and this period of time, this thesis examines intermediality in French science fiction as a historical and rhetorical construction, used by the actors to promote certain representations of the genre and to take position in conflicts about generic definition, especially regarding the relations with American productions, the industrial question, and the place of the author. I identify three moments of intermediality in French science fiction during that period of time (1973-2003). I consider the term moment in its temporal sense (a duration) and in its physical one (a synchronic measure of a dynamic phenomenon). This historical analysis of intermediality’s forms and discourses shows how the French « macro-texte » (Bréan) evolves in regard to the global « mega-text » of the genre (Broderick). This leads to study secondly what I call the « SF-effect », in relation with that historical and cultural context, from a semiotic, cognitive and narrative point of view. I engage in clarifying semiotic modalities of the SF-effect by considering relations between novum (a strange diegetic reality) and estrangement (a strange formal device), both depending on media and generic architextual determinants. Discussing the famous theory of Suvin, I propose an intermedial analytical framework of the cultural poetics of science fiction. Visual SF-effect is specifically investigated, and then confronted to the verbal estrangement figures, leading to a narrative intersemiotic approach of science fiction “texts” (in a broad meaning) when they are produced by media using different systems of signs. Finally, I consider the problem of world building and how novums and estrangements intersect in productions from different media when these productions share the same fictional world. I discuss the concept of transfictionality forged by Saint-Gelais and the propositions of Besson and Letourneux about massively transmedial contemporary fictional worlds. I distinguish four intermedial “world-effects” (worlds to be built, worlds to be diversify, helical worlds, worlds to be played) in the specific French biotope of the genre, which may also offer helpful support to analyse other cultural and generic phenomena.

Made available in DSpace on 2016-10-13T14:10:40Z (GMT). No. of bitstreams: 1 Roberta Scorcio Tafner.pdf: 5949451 bytes, checksum: 155e49aa415b35a37c59e24d2374e025 (MD5) Previous issue date: 2012-03-30 / Several phenomena involves interactivity and transmidiality processes in face of sociocultural context , articulated by media consumption, particularly in light of the teenagers culture´s generational transit, through those involving communication and consumption, both integral parts of the new contemporary communication's dynamics. In this study, we tried to deepen the discussion of those issues through reception angle, analyzing them from the point of view of the teenage girls universe, as active and prosumer receptors that, through the central role played by the cross-platform media and supported by new technologies, propose new forms of participations, conferred by borderline communication actions and by been interwoven to the new communication s practices within the production strategies of Capricho magazine, can be understood from the virtual the online platform, to presential, represented by NoCapricho event. Those phenomena consolidate the productive power of the intersection of reception and production s axes, which coupled with mediatic culture, come to define the new communication and consumption practices. / Diversos fenômenos envolvem os processos de interatividade e transmidialidade diante do contexto sociocultural articulado pelo consumo midiático, principalmente à luz do trânsito geracional da cultura adolescente, por meio daqueles envolvendo comunicação e consumo, partes integrantes das novas dinâmicas comunicacionais contemporâneas. Neste estudo, procuramos aprofundar a reflexão dessas questões sob o plano de recepção, analisando-as a partir do universo de meninas adolescentes, como receptoras ativas e prossumidoras que, através do papel central dos meios de comunicação multiplataformas, apoiados pelas novas tecnologias, propõem novas formas de participação conferidas pelas ações comunicacionais de fronteira e entrelaçadas às novas práticas de comunicação, no âmbito das estratégias de produção da revista Capricho, podem ser compreendidas do virtual - na plataforma on-line, ao presencial, representado pelo evento NoCapricho. Estes fenômenos consolidam o cruzamento da força produtiva dos eixos da recepção e da produção que, aliados à cultura midiática, definem as novas práticas de comunicação e consumo.

Continuant notre réflexion sur la transmédialité et la transculturalité, nous voulons donner quelques exemples issus de la littérature qui soient capables d’illustrer pars pro toto ce que nous avons élaboré dans la première partie, dans L’Éducation sentimentale de Flaubert par exemple, dans les nouvelles de Borges : "L’Aleph" et "Le jardin aux sentiers qui bifurquent", dans l’oeuvre de Frida Kahlo, mais aussi dans d’autres oeuvres qui ne seront pas traitées ici, telles que les romans de Robbe-Grillet Le Voyeur, La jalousie, La Maison des Rendez-vous, Pour une révolution à New York ou d’Italo Calvino, Se una notte d’inverno un viaggiatore ; dans les travaux des années 90 de Robert Wilson que j’ai appelés "spectacularité", tels que Cosmopolitan greetings, Parzival auf der anderen Seite des Sees ou Black Rider. Mais aussi dans Carlos W. Saénz (1956- ) (2003) d’Alejandro Tantanián ou les "présentations- pseudo-prothèse" de Periférico de Objetos comme Variaciones sobre B... (1991), El hombre de arena (1992), Cámara Gesell (1993), Máquina Hamlet (1995), Zooedipo (1998) ou Monteverdi método bélico (2000).

The PhD thesis Seriality in Czech and Slovak Comics Narration. Genres - Models - Worlds intends to deepen our understanding of the historically most prevalent serial form (as in "form of organization") of comics' texts, which phenomenon is here described and further studied building upon the material base of the Czechoslovak comics of the 20th century. At the same time, this seriality is considered here as both the topic of research and its main analytical tool, since the thesis aims to advance our knowledge of history of local comics, as well as to propose seriality-related theoretical tools and concepts. On the historical and interpretative level, the Czechoslovak tradition of comics is conceptualized through its dominant publication-presentation types (comics being presented in the periodicals context) of episodic segments with their strictly limited space/page allowance, with focus on formats and models of periodicity, as well as on genre and composition related topics. Further chapters are dedicated to specific sub-categories of comics narratives (either format-based - comic strip, or genre-oriented - funny animal comics). These not only give an appropriate historical overview of the individual topics, but also serve as the prerequisites for consideration of general, arguably even...

The work reflects one of the most popular fictional character of the first half of the 1930s, Pepina Rejholcová. Pepina Rejholcová, whose author Frantisek Voborsky, an important personality of Czech comics, has appeared in the Czech press at the turn of the 1920s and 1930s - first as a side character of humorous drawings or illustrations for popular song lyrics. Soon after, she reappeared on the silver screen, on pages of children's books, or in children's rooms in the form of toys and sweets. The transformations of the originally illustrated archetype caused by the switch among the various media are the center of interest for this work. In this context, the aspects of intermediality and transmediality are examined, both in special and general terms. It is mainly the extent to which the originally cartoon character changes, and whether the content of the message, the narrative patterns and the concept of humor is changing as well. In broader context, the work is a contribution to the theme of media and institutional integration. The work is divided into five parts and a conclusion. The first part outlines the theoretical viewpoints, the second part is devoted to Pepina Rejholcova's character, the third part reflects media representations, the fourth discusses essential characteristics of typical...