, traduit par Caroline Bem Over the past twenty years, the concept of intermediality has emerged as a strategic response that has sought to bypass some of the ills that have plagued the university as an institution. 1 Indeed, defined as the study of "nodes of relations, of relationship movements slow enough to seem immobile," (Méchoulan) intermediality as an approach has helped the fight against the hyperspecialization of research in the humanities. By conceiving of relationships (as opposed to media forms also under investigation) as paramount, it has made it possible to view as counterintuitive a fragmented approach to the real and its representations. Thereby, the social and cultural environment has been relocated to the center of analyses pertaining to literature, film, theater, the visual arts, and digital productions. In such cases, intermediality is a tool that is placed in the service of a comparatist and multidisciplinary approach to research (Müller). As a concept, then, it is not thought as the property of specific objects, but as a shift in perspective on the part of scholars. 2 To the definition of the concept as a strategic response, we might add an aspect that is just as relevant, namely that of intermediality as an epistemological challenge. When it is deployed to pay special attention to technique and the materiality of forms in their relation to one another, intermediality constitutes a way of sidesteping intertextual or interdiscursive issues. 3 The growing importance of the concept of intermediality takes the shape of a historiographical displacement that covers the entirety of the twentieth century. Within this trend, attention that was bestowed upon formats and other mediatic environments has come to be replaced, gradually, with a focus that rests on texts and, subsequently, on the relations between texts. 4 Thus, equal amounts of attention are given to the content of analyzed artifacts-the production of meaning