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Sofia Wijkmark

In Swedish author John Ajvide Lindqvist’s Gothic-horror novel Little Star (2010) graphic violence has a central function – thematically, but primarily as an aesthetic device. The plot contains motifs from classical video nasties, motifs that also have an effect on the text itself. This paper examines the novel’s use of extremely violent scenes, influenced by violent horror films, defining them as a kind of remediation. One point being made is that the use of violent effects, often described as a kind of spectacle, can be interpreted as a formal play upon the conventions of violent fiction.

Gothic Studies
Mel Bunce

, (accessed 1 August 2018) . Nothias , T. ( 2013 ), ‘ “It’s Struck a Chord We Have Never Managed to Strike”: Frames, Perspectives and Remediation Strategies in the International News Coverage of Kony 2012 ’, Ecquid Novi: African Journalism Studies , 34 : 1 , 123 – 9 . Nyhan , B. and Reifler , J. ( 2010 ), ‘ When Corrections Fail: The Persistence of Political Misperceptions ’, Political

Journal of Humanitarian Affairs
Bert Ingelaere

). Doughty , K. C. ( 2016 ), Remediation in Rwanda: Grassroots Legal Forums ( Philadelphia : University of Pennsylvania Press ). Foucault , M. ( 1980 ), Power/Knowledge: Selected Interviews and Other Writings, 1972–1977 . ( Brighton : Harvester Press ). Gravel , P. B. ( 1968 ), ‘Diffuse Power as a Commodity: A Case Study from Gisaka (Eastern Rwanda)’ , International Journal of Comparative Sociology , 9 : 3–4 , 163 – 76 . Haveman , R. H. ( 2011 ), ‘ Gacaca in Rwanda: Customary law in case of genocide’ , in Fenrich , J. , Galizzi , P. and

Journal of Humanitarian Affairs
Adaptation, remediation, appropriation

Beckett’s Afterlives is the first book-length study dedicated to posthumous reworkings of Samuel Beckett’s oeuvre. Contextualised against the backdrop of his own developing views on adaptation and media specificity, it nuances the long-held view that he opposed any form of genre crossing. Featuring contemporary engagements with Beckett’s work from the UK, Europe, the USA and Latin America, the volume does not approach adaptation as a form of (in)fidelity or (ir)reverence. Instead, it argues that exposing the ‘Beckett canon’ to new environments and artistic practices enables fresh perspectives on the texts and enhances their significance for contemporary artists and audiences alike. The featured essays explore a wide variety of forms (prose, theatre, performance, dance, ballet, radio, music, television, film, visual art, installation, new/digital media, webseries, etc.), in different cultural contexts, mainly from the early 1990s until the late 2010s. The concept of adaptation is broadly interpreted, including changes within the same performative context, to spatial relocations or transpositions across genres and media, even creative rewritings of Beckett’s biography. The collection offers a range of innovative ways to approach the author’s work in a constantly changing world and analyses its remarkable susceptibility to creative responses. Viewed from this perspective, Beckett’s Afterlives suggests that adaptation, remediation and appropriation constitute forms of cultural negotiation that are essential for the survival as well as the continuing urgency and vibrancy of Beckett’s work in the twenty-first century.

Abstract only
Graffiti, writing and coming-of-age in The Fortress of Solitude
James Peacock

or defeat the representational power of the written word. The second key term, which includes the first, is ‘remediation’. Although I am not, like them, interested in new digital media in this context, I draw on Jay David Bolter and Richard Grusin’s understanding of remediation as a refashioning, repurposing or appropriation of one medium by or within another. If a modern digital medium such as the

in Jonathan Lethem
Remediating theatre through radio
Pim Verhulst

point. Remediation, intermediality and embodiment Originally, Jay David Bolter and Richard Grusin coined the term ‘remediation’ to counteract the dominant ‘modernist myth of the new’ (1998, back cover), according to which digital technologies in particular were thought to break free from older media by setting new aesthetic and cultural principles. Yet, as Bolter and Grusin have shown, using a wide selection of examples from computer games to digital photography, film, television, virtual reality and the World Wide Web, such

in Beckett and media
Verbatim plays on television in the new millennium
Cyrielle Garson

constraints and pressures imposed by a change of medium, and I suggest further that such a process of remediation is politically marked. Furthermore, this research sets out to advance discussions about the challenges television presents to stage plays (even when very few stage plays are adapted for the small screen) and the opposing claims of each medium today. In an effort to explore these pressing

in Screen plays
The demonic adoptee in The Bad Seed (1954)
Elisabeth Wesseling

Bad Seed. The spectacular success of The Bad Seed in all of its (re-)mediations gives us ample cause for amazement, not only because the phenomenon of a downright evil child was largely unprecedented 2 in the history of English literature and film, but also because it departed from all culturally dominant and scientifically authoritative perspectives on procreation and adoption in the 1950s. This

in Gothic kinship
Open Access (free)
Environmental justice and citizen science in a post-truth age
Editors: and

This book examines the relationship between environmental justice and citizen science, focusing on enduring issues and new challenges in a post-truth age. Debates over science, facts, and values have always been pivotal within environmental justice struggles. For decades, environmental justice activists have campaigned against the misuses of science, while at the same time engaging in community-led citizen science. However, post-truth politics has threatened science itself. This book makes the case for the importance of science, knowledge, and data that are produced by and for ordinary people living with environmental risks and hazards. The international, interdisciplinary contributions range from grassroots environmental justice struggles in American hog country and contaminated indigenous communities, to local environmental controversies in Spain and China, to questions about “knowledge justice,” citizenship, participation, and data in citizen science surrounding toxicity. The book features inspiring studies of community-based participatory environmental health and justice research; different ways of sensing, witnessing, and interpreting environmental injustice; political strategies for seeking environmental justice; and ways of expanding the concepts and forms of engagement of citizen science around the world. While the book will be of critical interest to specialists in social and environmental sciences, it will also be accessible to graduate and postgraduate audiences. More broadly, the book will appeal to members of the public interested in social justice issues, as well as community members who are thinking about participating in citizen science and activism. Toxic Truths includes distinguished contributing authors in the field of environmental justice, alongside cutting-edge research from emerging scholars and community activists.


This book explores the development of Robert Lepage’s distinctive approach to stage direction in the early (1984–94) and middle (1995–2008) stages of his career, arguing that globalisation had a defining effect in shaping his aesthetic and professional trajectory. It combines examination of Lepage’s theatremaking techniques with discussion of his work’s effects on audiences, calling on Lepage’s own statements as well as existing scholarship and critical response. In addition to globalisation theory, the book draws on cinema studies, queer theory, and theories of affect and reception. As such, it offers an unprecedented conceptual framework, drawing together what has previously been a scattered field of research. Each of six chapters treats a particular aspect of globalisation, using this as a means to explore one or more of Lepage’s productions. These aspects include the relationship of the local (in Lepage’s case, his background in Québec) to the global; the place of individual experience within global late modernity; the effects of screen media on human perception; the particular affect of ‘feeling global’; the place of branding in contemporary creative systems; and the relationship of creative industries to neoliberal economies. Making theatre global: Robert Lepage’s original stage productions will be of interest to scholars of contemporary theatre, advanced-level undergraduates with an interest in the application of theoretical approaches to theatrical creation and reception, and arts lovers keen for new perspectives on one of the most talked-about theatre artists of the late twentieth and early twenty-first centuries.