Reorienting the narrative of digital media studies to incorporate the medieval, Participatory reading in late-medieval England traces affinities between digital and medieval media to explore how participation defined reading practices and shaped relations between writers and readers in England’s literary culture from the late-fourteenth to early sixteenth centuries. Traditionally, print operates as the comparative touchstone of both medieval and digital media, but Participatory reading argues that the latter share more in common with each other than either does with print. Working on the borders of digital humanities, medieval cultural studies, and the history of the book, Participatory reading draws on well-known and little-studied works ranging from Chaucer to banqueting poems and wall-texts to demonstrate how medieval writers and readers engaged with practices familiar in digital media today, from crowd-sourced editing to nonlinear apprehension to mobility, temporality, and forensic materiality illuminate. Writers turned to these practices in order to both elicit and control readers’ engagement with their works in ways that would benefit the writers’ reputations along with the transmission and interpretation of their texts, while readers pursued their own agendas—which could conflict with or set aside writers’ attempts to frame readers’ work. The interactions that gather around participatory reading practices reflect concerns about authority, literacy, and media formats, before and after the introduction of print. Participatory reading is of interest to students and scholars of medieval literature, book, and reading history, in addition to those interested in the long history of media studies.
Reading practices and participation in digital and medieval media
? And what did their participation
achieve for themselves or others?
The context: reading, participation, and agency
The central subject of this project thus focuses on participation, a
concept for which I am indebted to digital mediastudies. Perhaps
because of the autobiographical self-interest of a writer raised in a
print-centric culture but currently inhabiting a culture impacted
by a new technology of writing and reading technology, I find
great interest in studying a culture on the cusp of a parallel, earlier
change. Yet beyond the bounds of
Traces, tiles and fleeting moments:
art and the temporalities of geomedia
Introduction: geomediation in the inhabitable map
In this chapter, I discuss ways in which artists have exploited and exposed the
temporalities of ‘geomedia’. I am following writers working at the intersection
of mediastudies and geography in using this term to refer to a contemporary
complex of technologies, content and practices that involve mapping, remote
survey visualisations and the binding of digital information to location via GPS
(Thielmann, 2010; Lapenta, 2011
proliferation of courses in film studies and mediastudies, the funding
of access to the source materials has not increased at all .
There can be surprisingly simple misunderstandings about
what a film archive is. People who understand perfectly that they
can’t walk in and browse around manuscript collections of the
British Library are illogically outraged when a film archive refuses
them access to original
and audiences perceive through transnational media is adapted or vernacularised through their own perceptions of race and identity. This is already recognised, latently, in south-east European feminist mediastudies of female embodiment in pop-folk performance, which often comment on the vernacularisation of style, movement and sound from Anglo-American musics but much more rarely discuss how many of these practices at point of origin are racialised as black. Does it matter, in interpreting these performances, that their representations of aspirational excess using
Television and the politics of British humanitarianism
Practicalities, Colonial Discourse and Western Understandings of
Development ’, Journal of African
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25 – 41 ;
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International NGOs ( London :
I. B. Tauris , 2012 ); S. Orgad , Media Representation and the Global
Imagination ( Cambridge, MA
, 2011; Turner, 2006; Wilkinson, 2009) to
legal theory (Fineman, 2008; 2010; Fineman and Fineman, 2017); from
bioethics and other forms of ethics (Straehle, 2016; ten Have, 2016) to
environmental and disaster studies (Bankoff, 2001; Clark, 2010); from
studies of sexual violence (Bergoffen, 2011; Gilson, 2014; 2016) and feminist philosophy (Anderson, 2003; Butler, 1997a; 2004; 2009; Gilson,
2014; Mackenzie et al., 2013) to political theory (Butler et al., 2016), international relations (Beattie and Schick, 2013), and development studies,
as well as mediastudies
. Rather, I wish to show how deeply
integrated they are into our culture and our everyday lives.
Affects, emotions, feelings
Should one, on the basis of the above, assume that studying emotions
is not in favour within mediastudies? Not at all. A research survey
lists over 400 studies within the media field where emotions (or, more
correctly, affects) are foregrounded (Wirth & Schramm 2005). From
the 1960s until the early twenty-first century traditional research on
effects dominated the field, with a focus on emotional reactions to
media consumption or media stimuli
). ‘Exploring grey zones and blind spots in the
binaries and boundaries of E. L. James’ Fifty Shades trilogy’, Feminist MediaStudies, 13:3, pp. 558–662.
Hochschild, A. (2003 ). The Managed Heart: Commercialization of Human
Feeling. Berkeley: University of California Press.
Illouz, E. (2014). Hard-Core Romance: ‘Fifty Shades of Grey’, Best-Sellers, and Society.
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James, E. L. (2012a). Fifty Shades of Grey. New York: Vintage.
James, E. L. (2012b). Fifty Shades Darker. New York: Vintage.
James, E. L. (2012c). Fifty Shades Freed
warrants sustained, critical attention’. 5 Drawing and building on scholarship from sociology,
journalism, development studies, politics, film and mediastudies and
anthropology, we investigate the complex relationships between
humanitarianism and popular media forms, technologies, events and cultures.
Our authors explore a variety of media, from film, television and memoirs to
music festivals and social media, and chart the development of different