Narration in Various Media // Marie-Laure Ryan

 

http://wikis.sub.uni-hamburg.de/lhn/index.php/Narration_in_Various_Media

 

 

Narration in Various Media

Last modified: 13 January 2012

Marie-Laure Ryan

 

 

1 Definition

 

[2]

The term of medium (plural: media) covers a wide variety of phenomena: (a) TV, radio, and the internet (especially the WWW) as the media of mass communication; (b) music, painting, film, the theater and literature as the media of art; (c) language, the image and sound as the media of ｅxpression (and by implication as the media of artistic ｅxpression); (d) writing and orality as the media of language; (e) handwriting, printing, the book, and the computer as the media of writing. The definition provided by Webster’s dictionary puts relative order in this diversity by proposing two distinct definitions: (1) Medium as a channel or system of communication, information, or entertainment; (2) Medium as a material or technical means of ｅxpression (including artistic ｅxpression) .

 

 

 

1 정의

 

'미디어'의 정의는 다양한 현상을 포괄한다 : (a) 매스 커뮤니케이션의 매체로서 (b) 예술의 매체 (c) 표현의 매체 (d) 언어의 매체 (e) 글쓰기의 매체 

(1) 커뮤니케이션, 정보, 엔터테인먼트의 시스템 혹은 채널로서의 미디어

(2) 표현의 기술적 수단 혹은 요소로서의 미디어

 

 

[3]

2 Explication

 

[4]

The first definition regards media as conduits(정보나 물자의) 전달자 for the transmission of information, while the second describes them as “languages” that shape this information (Meyrowitz Meyrowitz, Joshua (1993). “Images of Media: Hidden Ferment—and Harmony—in the Field.” Journal of Communications 43, 55–66.1993). (The use of quotation marks in this entry will distinguish “language” as a collection of expressive devices from language as the semiotic code that forms the object of linguistics.) The relevance of the concept of medium for narratology is much more evident for type 2 than for type 1. ong (Ong, Walter J. (1982). Orality and Literacy. The Technologizing of the Word. London: Methuen.1982) has objected to a conception of media that reduces them to “pipelines for the transfer of a material called information.” If indeed conduit-type media were nothing more than hollow pipes for the transmission of artifacts realized in a medium of type 2 (e.g. a film broadcast on TV, a painting digitized on the WWW, a musical performance recorded and played on a phonograph), they would bear little narratological interest. But the shape of the pipe affects the kind of information that can be transmitted, alters the conditions of reception, and often leads to the creation of works tailor-made for the medium (cf. films made for TV). For the narratologist, channel-type media are only interesting to the extent that they involve “differences that make a narrative difference”—in other words, to the extent that they function as both conduits and “languages.” Among technologies, TV, radio, film, and the internet have clearly developed unique storytelling capabilities, but it would be hard to find reasons to regard Xerox copy machines or phonographs as possessing their own narrative “language.” 

 

 

 

 2 해설

 

 미디어에 관한 첫번째 정의는