FRAMING IN LITERATURE AND OTHER MEDIA

An International Symposium
organized by the Intermediality Programme of the Faculty of Humanities,
Karl-Franzens-Universität Graz

Date: June 10-12, 2004
Venue: Institut für Anglistik, Karl-Franzens-Universität Graz,
Heinrichstr. 36, A-8010 Graz, Austria

The concept 'frame', originating from linguistics and cognitive science, is of paramount importance for the understanding of all acts of human signification, including literature, film, the visual arts and music. By analogy with Paul Watzlawick's famous dictum that 'one cannot not communicate' one may say that there is no signification without frames, that is, without basic schemata, conditions and agreements which govern perception and understanding and whose knowledge is fundamental to the meaningfulness of all communication.

It is usually the case that frames are taken for granted; that is, they 'go without saying'. In such cases there is, in Erving Goffman's terminology, no explicit 'keying', or no what has been termed 'framing'. However, in cases that deviate from standard or everyday expectations and patterns framings are regularly incorporated into the 'message' itself or occur as physically identifiable elements in its context. Such explicit framings contain meta-statements about the manner in which the framed signs are to be decoded. Owing to their function as guidelines for understanding, framings - in temporal media - tend to occupy an initial position in the unfolding communication; and all framings are, or seem to be, located on another level (e.g. logical, ontological or textual) beyond the framed signs.

The 'messages' transmitted by literature and other (aesthetic) media, particularly if they are fictional, are often conceived of as an exceptional kind of communication and are consequently subject to various forms of framings. Examples of framings in such media, verbal and otherwise, include, in the visual arts, pedestals and the frames of paintings (which show the most obvious relation to the term 'framing'); in literature, 'paratexts' (Genette), such as prefaces or introductions to novels or dramas, or the frames surrounding plays within plays or narrative mises en abyme and frame tales; in music, various introductory and linking passages (as in Pictures at an Exhibition); in film, the credits and the frames of embedded films. In addition, framings can also appear in the form of a medium which differs from the framed signs. In literature such 'intermedial framing' occurs, for instance, in the form of an illustration preceding the text; in musical theatre, in an instrumental overture foreshadowing elements of an opera (assuming that the orchestra is conceived of as a different medium from the characters/singers on stage); in the visual arts, in a verbal caption that accompanies a painting or photograph; in film, in an advertising still.

The aim of the symposium is to highlight the concept of framing and its applicability to literature and other media. Areas of enquiry may include: What different forms of framing can be found in individual works, genres and media as well as in cross-medial collaborations? How can framings be compared from an intermedial perspective? How can they be distinguished from the work/text proper? What specific functions do framings fulfil? How have forms and functions evolved in particular genres or media over decades or centuries?

There will also be opportunity for informal exchange during a variety of social and tourist activities for which the historical town centre of Graz, the European cultural capital 2003, and its beautiful surroundings provide a perfect setting.

Papers are welcome that deal with any of the above-mentioned topics, be it from a theoretical, typological or a functional point of view; a cognitive perspective is particularly desirable, as is, where applicable, a concentration on initial framings. Papers - which should not exceed 30 minutes - may focus on framing devices in individual works, genres or media, but also on intermedial framings and comparisons. The conference language will be English.

Abstracts of 300 to 500 words with an indication of academic affiliation should be sent by email to werner.wolf@uni-graz.at The deadline is October 31, 2003.

For further information please contact a member of the organizing committee:
Univ.-Prof. Dr. Werner Wolf (werner.wolf@uni-graz.at), chair,
Univ.-Prof. Dr. Walter Bernhart (walter.bernhart@uni-graz.at),
Univ.-Prof. Konrad Eberlein (konrad.eberlein@uni-graz.at).