Passages across thresholds: Into the borderlands of mediation

Convergence

Volumn 8, Issue 4, 2002, Pages 89-106

  Fornäs, Johan ^a,b  

^a NATIONAL INSTITUTE FOR WORKING LIFE   (Sweden)

^b LINKÖPING UNIVERSITY   (Sweden)

Author keywords

[No Author keywords available]

Indexed keywords

EID: 30744452884     PISSN: 13548565     EISSN: 17487382     Source Type: Journal    
DOI: 10.1177/135485650200800409     Document Type: Article

References (26)

1. Arnold Van Gennep, The Rites of Passage (Chicago: University of Chicago Press, 1960 [1909]);
2. Victor Turner, The Ritual Process (Chicago: Aldine, 1969).
3. Walter Benjamin, The Arcades Project (Cambridge, MA and London: Harvard University Press, 1982/1999), p. 494. The word 'Unterhaltung' of the German original can in fact not only mean 'conversation' but also 'entertainment', which invites certain of my following reflections.
4. Gaston Bachelard, The Poetics of Space (Boston: Beacon Press, 1994 [1958]), p. 223.
5. Karin Becker, 'Media and the Ritual Process', Media, Culture & Society, 17 no. 4 (1995).
6. Georg Simmel, 'Bridge and Door', Theory, Culture & Society, 11 no. 1 (1994 [1909]), p. 5.
7. See, for instance, Dick Higgins, 'Intermedia', Leonardo, 34 no. 1 (2001 [1966]). The distinctions between multi- and intermedia will be further discussed in the last section of this text.
8. Gloria Anzaldúa, Borderlands/La Frontera: The New Mestizo (San Francisco: Spinsters/Aunt Lute, 1987).
9. James Clifford, Routes: Travel and Translation in the Late Twentieth Century (Cambridge, MA and London: Harvard University Press, 1997).
10. Johan Fornäs, Kajsa Klein, Martina Ladendorf, Jenny Sundén and Malin Sveningsson, Digital Borderlands: Cultural Studies of Identity and Interactivity on the Internet (New York: Peter Lang Publishing, 2002).
11. See also Johan Fornäs, 'Digital Borderlands: Identity and Interactivity in Culture, Media and Communications', Nordicom Review, 19 no. 1 (1998).
12. See M.M. Bakhtin, The Dialogic Imagination (Austin: University of Texas Press, 1981)
13. See Espen J. Aarseth, Cybertext: Perspectives on Ergodic Literature (Baltimore and London: The Johns Hopkins University Press, 1997).
14. Jay David Bolter and Richard Grusin, Remediation: Understanding New Media (Cambridge, MA and London, UK: MIT Press, 1999).
15. Claude Lévi-Strauss, The Savage Mind (London: Weidenfeld and Nicholson, 1962/1966), pp. 16ff.
16. Dick Hebdige, Subculture: The Meaning of Style (London and New York: Methuen, 1979).
17. Erling Bjurström, Johan Fornäs and Hillevi Ganetz, Det kommunikativa handlandet: Kulturella perspektiv på medier och konsumtion [Communicative Action/Shopping: Cultural Perspectives on Media and Consumption] (Nora: Nya Doxa, 2000).
18. For an overview of theories and types of intertextuality, see Robert Stam, Reflexivity in Film and Literature. From Don Quixote to Jean-Luc Godard (New York: Columbia University Press, 1992 [1985]).
19. To Higgins (1966/2001), intermedia fuse art forms that are elsewhere separated, thereby producing works that seem to 'fall between' the traditional, 'pure' media. Later discussions have widened the concept considerably, transcending the sphere of avant-garde art movements into the larger field of media and popular culture at large. See, for instance, Yvonne Spielmann, 'Intermedia in Electronic Images', Leonardo, 34 no. 1 (2001).
20. Johan Fornäs, 'Text and Music Revisited', Theory, Culture & Society, 14 no. 3 (1997);
21. Johan Fornäs, 'The Words of Music', Popular Music and Society (2001);
22. Fornäs, Cultural Theory and Late Modernity, pp. 154ff.
23. Mikko Lehtonen, 'On No Man's Land: Theses on Intermediality', Nordicom-Information, 22 nos. 3-4 (2000).
24. Johan Fornäs, Tältprojektet: Musikteater som manifestation [The Tent Project: Music Theatre as a Manifestation] (Stockholm/Göteborg: Symposion, 1985).
25. Kirsten Drotner, 'Cross-over Culture and Cultural Identities', Young: Nordic Journal of Youth Research, 4 no. 1 (1996).
26. Johan Fornäs, 'The Crucial In Between: The Centrality of Mediation in Cultural Studies', European Journal of Cultural Studies, 3 no. 1 (2000), pp. 58ff;