From Media Anthropology to Media Ecology

Berensmeyer, Ingo

doi:10.1515/9783110227628.321

Cited by 3 publications

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“…The tension between IP and piracy has important implications for the beliefs we have about how, where, when, and to whom a text can circulate. In part for this reason, this IP-piracy dialogic profoundly shapes the media ecologies in which we all operate, shifting the dynamics of who is authorized to speak or to listen and the channels available for both creation and consumption (Berensmeyer 2012). Finally, understanding this dialogue explains why much of the globe experiences IP not as some liberating tool for the production and reception of texts, but rather as a set of complex, shifting, and frequently capricious interdictions on their creation and use.…”

Section: Introductionmentioning

confidence: 99%

Intellectual Property, Piracy, and Counterfeiting

Dent

2016

Annu. Rev. Anthropol.

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This review argues that the elastic space between intellectual property (IP) and unauthorized use (including piracy and counterfeiting) is an increasingly important feature of contemporary textual production and circulation. Within the context of digital textuality, circulatory legitimacy becomes integral to both contextualization and entextualization. The dynamic relationship between IP and piracy/counterfeiting appears as a means of organizing sense-perception and subjectivity, parsing geopolitical space, handling the surfeits and deficits that emerge in contemporary text circulation, distinguishing formality from informality, and deciding levels and forms of acceptable participation in the production and consumption of commodities. This becomes particularly fraught in the face of anxieties about the potential limitlessness of circulation.

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Section: Introductionmentioning

confidence: 99%

Intellectual Property, Piracy, and Counterfeiting

Dent

2016

Annu. Rev. Anthropol.

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“…Since then, the traditionally humanist focus of media ecology, as it was expressed in the Toronto and New York schools of media studies (e.g. Ong 1982, Postman 1973, has been questioned and expanded by poststructuralist critics and, more recently, by computer science and science studies, in which media are often attributed with an agency of their own (see Berensmeyer 2012). McLuhan's own theories already transcend an instrumental view of media as mere tools, but more recent media studies shift the focus on media even further towards non-human agency and the study of media environments.…”

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Shakespeare and Media Ecology: Beyond Historicism and Presentism

Berensmeyer¹

2014

Poetics Today

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This article proposes media ecology -a combination of media studies and performance studies with literary and cultural history -as a research perspective for Shakespeare studies.In contrast to a hermeneutics of renewal -as evinced both in the New Historicism and in what has been called Presentism -, which tries to turn Shakespeare into "our contemporary" (Jan Kott), media ecology combines a sense of historical alterity with an awareness of the continuing transformations of 'Shakespeare' in changing media settings: from manuscripts and printed texts to theatrical performances, music, opera, cinema, and televised media events.Moving beyond the currently dominant strands of Renaissance studies (the historicist and the presentist bias), this article challenges scholarly ideas of historicity (as opposed to timelessness, universality or contemporaneity) on the one hand and concepts of presentism (as opposed to historic specificity or singularity) on the other hand. How, if at all, can we reconcile the urge to make Shakespeare contemporary (and, by extension, keep his work relevant) and the conflicting desire for a historically accurate interpretation?As an example, the article focuses on the masque in The Tempest, which poses obvious difficulties for a hermeneutics of renewal and is often cut from performance or adapted beyond recognition. Later productions and adaptations frequently extend the spectacular qualities of the masque to The Tempest as a whole and ignore the skepticism about theatrical illusion that is voiced by Prospero in the play. In the case of The Tempest, cultural productions, ranging from dramatic performances to the closing ceremony of the London Olympics of 2012, are difficult to conceptualize in the framework of adaptation studies (which relies on the precedence of an original over its derivations). I argue that media ecology can help scholars to map out such connections and differences between performances and cultural phenomena relating to Shakespeare as cannot be fully grasped either in a historicist or presentist perspective.

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Re-Lektüren - (K)eine Festschrift für Christopher Balme

Otto,

Roesner,

Szymanski-Düll

2023

Theater

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In dieser Einleitung erläutern Ulf Otto, Berenika Szymanski-Düll und David Roesner den Anlass und die Konzeption des Bandes, der anläßlich der Emeritierung von Christopher Balme eine Re-Lektüre seiner wichtigsten Schriften unternimmt. So wird zum einen das Werk eines herausragenden Theaterwissenschaftlers gewürdigt, als auch eine Inventur des Faches Theaterwissenschaft vorgenommen, die neueste Entwicklungen der Disziplin aufzeigt und zentrale Fragestellung für die Zukunft avisiert.

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From Media Anthropology to Media Ecology

Cited by 3 publications

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Intellectual Property, Piracy, and Counterfeiting

Intellectual Property, Piracy, and Counterfeiting

Shakespeare and Media Ecology: Beyond Historicism and Presentism

Re-Lektüren - (K)eine Festschrift für Christopher Balme

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