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Volume Editor: David Francis Urrows
The twelve essays presented in this volume are drawn from the Fifth International Conference on Word and Music Studies held at Santa Barbara, CA, in 2005. The conference was organized and sponsored by The International Association for Word and Music Studies (WMA) and in its central section explored the theme of “Word/Music Adaptation”. In these wide-ranging papers, a great variety of cases of intermedial transposition between music, literature, drama and film are examined. The music of Berlioz, Biber, Chopin, Carlisle Floyd, Robert Franz, Bernard Herrmann, Liszt, Richard Strauss, Verdi, and pop singer Kate Bush confronts and commingles with the writings of Emily Brontë, Goethe, Nancy Huston, George Sand, and Shakespeare in these cutting-edge adaptation studies. In addition, four films are discussed: Wuthering Heights, Fedora, Otello, and The Notebook. The articles collected will be of interest not only to music and literary scholars, but also to those engaged in the study of adaptation theory, semiotics, literary criticism, narrative theory, art history, feminism or postmodernism.
Author: Robert Harmsen


Europeanization as a political process may be understood in terms of both the creation of a European polity and the adaptation of national polities to European integration. This paper examines a key aspect of the interrelationship between these two dimensions of Europeanization. Against expectations, the national politico-administrative systems of European Union member states have not converged. Drawing on a new institutionalist analytical framework, it is shown that these differential patterns of national adaptation correspond to more general models of incremental institutional change and, as such, are likely to be a persisting feature of European integration. This, in turn, leads to a reconceptualization of European governance, which emphasizes the importance of national diversity. The influence of differing national politico-administrative models on the development of the European Union is discussed. The implications of national diversity for policy implementation frameworks are also analysed.

In: Europeanization
Volume Editors: Colette Balmain and Lois Drawmer
The papers collected in this volume are expanded from papers given at the 6th Global Conference on Evil and Human Wickedness, which took place in March 2005. The chapters here represent the diversity and interdisciplinary nature of the conference itself covering topics such as historical and theological concepts of evil, media representations of evil, contemporary debates surrounding the Bosnia war and woman perpetrators in Birkenau, and the construction of the Other as evil in the face of the continuing hysteria over AIDS. The range of the papers collected here makes this book essential reading for students of all humanities disciplines.


In 2014, for the first time in the history of the Union, Member States had to take into account the European elections’ results in the nomination of the President of the European Commission. The procedure limited the European Council’s leverage in negotiating the nomination of the future head of the Commission and created new opportunities for unification and personalization of the European electoral race. Several months prior to the elections, the European party families pointed to potential leaders of the Commission. The nominees for this non-elective position announced however they would be running for the office and would conduct electoral campaigns in all the European democracies. The party-driven strategy challenged the canonical views on the European Commission’s technocratic profile, but at the same time, had the potential to foster meaningful mechanisms of representation. However, in 2019, once the elections were over, most mainstream Europarties, with the assistance of some prominent members of the Council, rapidly abandoned the system altogether. The chapter analyzes the recent failure of the lead-candidate procedure and identifies the Europarties’ process of party adaptation (shaped through party regulations) as a potential cause for such U-turn in the EU politics. The argument comprises two parts. The first part focuses on the 2019 ep elections from the perspective of the Spitzenkandidaten selection process as an intra-party experience. It shows that, despite the fact that the main European party families rapidly embraced highly proceduralized mechanisms of recruitment, candidate selection for the ec’s Presidency had relied on exclusiveness and centralization, favoring pre-existing elite networks at supranational level. The second part aims at deconstructing the Europarties’ organizational features and patterns of party finance, highlighting the accelerated path to bureaucratization and supranational decoupling from national-level politics.

In: 2019 European Elections
Volume Editor: Stephanie A. Glaser
This interdisciplinary volume explores, analyzes, and celebrates intermedial processes. It investigates the dynamic relations between media in contemporary artistic productions such as digitalized poetry and installations or musical scores by Walter Steffens and Hugh Davies; in texts like Dieter Roth’s diaries, Ror Wolf’s guidebooks, Charles Baudelaire’s art criticism, or Lewis Carroll’s Alice books; and in inherently intermedial pieces like Stéphane Mallarmé’s Un Coup de Dés and Augusto de Campos’s poetry. Through distinct and diverse methodological approaches to intermedial inquiry, the contributors probe multiple forms of interaction between media: adaptation, appropriation, transposition, transfer, recycling, grafting, recontextualization, intertextualization, transmedialization, and transcreation. In so doing, they offer perspectives which refine our understanding of the term ‘medium’ and demonstrate ways in which intermedial creations engage their audiences and stimulate creative responses.
Written in honor of Claus Clüver, a groundbreaking leader in intermediality studies, the essays participate in and broaden the scope of current discourses in the international forum. The range of their subjects and methodologies will interest literary scholars, art historians, musicologists, scholars of new media as well as those working in intermediality studies, word and image or word and music studies, and anyone whose interests cross traditional disciplinary boundaries.