The academic concept of ‘intermediality’ presents a challenge to traditional artistic boundaries, offering a refreshed sense of the relationship between different kinds of media. This chapter relates such ideas to modernism, considering the work of a group of writers who showed a fascination with the stage but primarily achieved fame in genres other than performed drama. It begins by examining a tension within Ezra Pound’s work: his desire to engage with the stage and yet to dismiss the significance of theatre. The discussion then references the work of James Joyce, D. H. Lawrence, Virginia Woolf, Rabindranath Tagore, and Kōbō Abe. Ultimately, although ‘intermediality’ is sometimes assumed to apply more specifically to a later historical era of advanced media technology, this chapter shows how intermedial thinking can apply productively to modernist cultural products of the earlier twentieth century.

Chapter 5 explores the stakes of touching, tasting, smelling, and hearing books. Writers connected bookish words with sensory language to conceptualize the process of mediation.

One of the harshest criticisms the Court of Enquiry made of Cadorna was his organization at Udine which figured as some kind of feudal court cut off from the world outside. Inhabited by a circle of the faithful few whose privilege it was to live in daily contact with the overlord (Chief of Staff) and rigorously policing the coveted access to his person, it also housed a large population of ill-organized employees and heads of office, as well as an intermittent throng of postulants seeking audience (generals of combatant units, the occasional envoy from a foreign army, or delegates from the government in Rome). Decidedly, the Supreme Command was anything but a modern centralized command structure catering swiftly to the needs of a mass army.

More than ever before, we are surrounded by many forms of media technologies, including film, television, the internet, games, print and audio. The Australian Curriculum focuses on media arts, which incorporates the creative use of these technologies as an art form. The aims, according to ACARA, are that students develop: enjoyment and confidence to participate in, experiment with and interpret the media-rich culture and communications practices that surround them; creative and critical thinking skills through engagement as producers and consumers of media; aesthetic knowledge and a sense of curiosity and discovery as they explore images, text and sound to express ideas, concepts and stories for different audiences; and knowledge and understanding of their active participation in existing and evolving local and global media cultures. In Media Arts, students use images, sound, text, interactive elements and technologies to creatively explore, produce and interpret stories about people, ideas and the world around them. They explore the diverse cultural, social and organisational influences on media practices, and draw on this understanding when producing and responding to media arts works.

Historians of Christianity, even when innovative in theory and method, have mostly written within national, denominational, or institutional frameworks. Yet many of the most important changes and developments within Christianity have been transnational in scope, trans-denominational in character, and not easily contained within institutional or hierarchical structures. What difference would it make to reimagine the history of Christianity in terms of transnational networks, nodal junction boxes of encounter and transmission, and a greater sense of the core memes and messages of religious traditions and expressions? That is the principal question to be explored in the following chapters.

The conclusion operates around four questions. First, the appropriate extent and limitations of networks and who should set the boundaries. Self-evidently, the less well-known networks created by the most marginalized, particularly lower-class women of color and Indigenous people at the outer edges of empires and religious traditions, are still the most under-researched and the least understood. Second, how to critically evaluate the relationship between Christianity and empire in the early modern and modern world. Christian expansion and the rise of the European empires are inextricably linked; they are not always in synchronicity regarding objectives or consequences. Third, how did the various revolutions in communications, from the print to the digital revolutions, shape the content of nuclei, the nature and location of nodes that became most important, and the ways networks expanded? Finally, how helpful is it to think of religious traditions capable of transnational mobility in terms of a religious nucleus with a particular DNA core? What inner cores of ideas and practices enabled these disparate religious traditions to grow and thrive thousands of miles from their origins?

The first example of mechanical epiphany that the book sets forth is that of the well-known ‘god on the machine’ (deus ex machina) employed in the ancient Greek theatre. Moving beyond interpreting the theatrical crane as a plot device, this chapter forefronts the mēchanē’s material qualities to explore the theological potential of the object as a mode of visual epiphany. Vital to the success of this mode of epiphany was the challenge to the viewer to recognise divine intervention as well as the mechanics that constructed and enabled it. The evidence of Old Comedy, both fragmentary and the fuller plays of Aristophanes, help demonstrate how uses of the comic crane (kradē) undercut the interpretative symbiosis between man, machine, and divine agency on which tragedy was predicated. The chapter closes by exploring how the theatre as a form of mass media made it fertile ground for development and exploration of theological ideas, not just a reflection of literary norms.

Humans have historically devised, and continue to devise, various strategies to make their gods present in the mortal realm. The introduction explains how technologies should be understood as one such strategy employed in ancient Greek religion to solve the ‘problem of divine presence’. Key terms including technology, mechanics, art, and technē are explained, and the relationship between these terms is discussed. Various themes important to the book are also introduced: theoretical frameworks to access the agency of technological objects which conditioned ancient religious experience (including a reassessment of Alfred Gell’s theory of art objects); what we should make of apparently conflicting epistemologies in a topic such as this which combines ‘rational’ scientific knowledge and sacred experience; and how concepts of play and the playful were crucial both to religion and to technology in Classical antiquity.

The introduction provides an overview of the volume, situating the chapters within some of the historical, social, and literary transformations of the past thirty years and providing an account of the different sections that organize the collection. Part I chronicles the new migrations, emerging literary institutions, conceptual shifts, and historical events that have transformed the field of Latinx literary studies since 1992. Part II focuses on genre, paying particular attention to how popular genres have fostered new racial imaginaries. Part III focuses on the different media that emerged as important vehicles for Latinx storytelling and literary expression, while the final part surveys important theoretical developments concerning race, sexuality, and literary form. The volume thus surveys a period that begins with historical recuperations of texts that were marginalized and ends with decolonial critiques that seek new ways of knowing.

In 1980, the fledgling Entertainment and Sports Programming Network delivered the first live television coverage of the NFL draft. The draft would become one of the biggest events on ESPN’s and the NFL’s calendars and demonstrate to the emerging cable industry that talk sold – sometimes better than the thing being talked about. Chapter 5 recounts how ESPN, for years the leading cable channel, built a multibillion-dollar business by nurturing an obsession with scouting athletic giftedness. The talent talk allowed the network to bridge the two dominant racial ideologies of the time, color blindness and multiculturalism, and model for other cable networks and media how to turn commentary into mass entertainment.

Chapter 5 demonstrates that in the years 2000–05 a new generation of Russian hawks born around the 1970s, the “Young Conservatives,” acquired a reputation as professional media intellectuals and developed a new type of collective ideological entrepreneurship. They naturalized modernist conservatism’s eclectic blend of concepts into a full-fledged ideology, “dynamic conservatism.” Moreover, they established themselves as a legitimate stratum of Russia’s intellectual elites contributing public policy recommendations.

The chapter starts by outlining the version of direct realism endorsed by Aristotle. I argue that he was committed to uncompromised realism about perceptible qualities and to the view that we immediately perceive the bearers of these qualities without any need of further synthetic acts. These features highlight the difficulty of capturing the explanantia of perception. Two notions key to that endeavour are those of mediation and discrimination. The chapter provides a novel analysis of mediation (for discrimination, see Chapter 6), arguing that, for Aristotle, media are – more or less perfect – qualitative conductors. Furthermore, the chapter addresses the existing debate about what, according to Aristotle, happens in the sense organs when we perceive. I argue that the dilemma governing this debate between spiritualism and materialism (either ‘literalist’ or ‘analogical’) is a false one. Tertium datur, and this alternative turns out to be precisely the view Aristotle embraced: perception consists of a thoroughly material process, but what this process results in must not be a standing material likeness (which would mark the end of perception because like cannot be affected by like), but a dynamic ‘phenomenal’ likeness – the presence of a quality of the perceived object which remains to be precisely a quality of that object.