The Creative Woodblock Print Movement (創作版画運動) emerged as a distinct departure from ukiyo-e, establishing a new direction for printmaking in modern Japan. This movement initially arose as a reaction against the mechanization of printing, emphasizing the artistic value of woodblock prints. The magazine Housun (方寸) is considered a pioneer in this field. Published during the late Meiji era, Housun was an artistic magazine that showcased various forms of creative printmaking and literary works. It was independently produced as a coterie magazine by nine members, with contributions from various writers. The magazine’s primary creators, Kanae Yamamoto (山本鼎) and Hakutei Ishii (石井柏亭), were not only accomplished artists and writers but also skilled craftsmen in the field of visual printing. A distinctive feature of Housun was that all production processes were carried out by the members themselves. They took on the roles of editors, publishers, and creators, embodying a holistic approach to their work. The individuality of Yamamoto and Ishii drove the magazine’s deep integration of art, literature, and technology during a time when visual printing techniques and artistic expression were not yet clearly separated in early modern Japan. Utilizing their diverse talents, they engaged in experimental techniques to enhance the magazine’s appeal. This presentation will examine how Yamamoto and Ishii expressed their artistic vision and critical perspectives through their expertise in woodcuts, lithography, copperplate printing, and the new printing technologies of their time. It will also explore how their work positioned the creation of literature and art as a dynamic interplay between the creators’ expressive goals and the methods and technologies available to them.

Mythology has been the subject of scrutiny in Indonesian visual art for decades, even centuries; it has been adopted into, challenged and even (re)appropriated to critique an array of sociopolitical issues in Indonesian society. Specifically, these myths are almost always patriarchal in narrative and or visual aesthetic, characterising female characters as submissive and or demonising their resistance to the gender status quo. As such, Indonesian women artists, in particular, have subverted these expectations and inquired into gender representation in their oral histories. This paper will analyse how contemporary Indonesian women artist, Citra Sasmita, (re)appropriates patriarchal Balinese and Javanese mythology through her intermedial usage of text and visual art: her installations spotlight snippets of Indonesian mythology literature alongside her macabre depiction of naked, chimaera-like women in her rendition of Balinese Kamasan paintings. Together, her installations — as part of her broader Timur Merah Project — present the symbiotic relationship between text and her visual iconography as they influence, complement and wrestle with each other in the gallery space. My paper will first begin by establishing the (gender) politics of Indonesian mythologies and how it is reflected in their national sociopolitics. After establishing the significance of mythology in Indonesian society, I will link this significance to the development of modern and contemporary Indonesian visual art iconography, and how artists such as Sasmita have come to appropriate mythology for her gender critique. Lastly, I will textually and visually analyse Sasmita’s intermediality and how it bolsters her inquiry into the representation of women in mythology (and by extension, in Indonesian society). I will be placing my analysis in conversation with other theorists such as Roland Barthes and Wulan Dirgantoro. Ultimately, my paper aims to excavate the semantic and visual intricacies of text and visual art as an intermedial form of gender critique in Indonesia, and how this informs our wider understanding of the significance of mythology as a critical tool in Indonesian visual art and literature to date.

Joyce Carol Oates' short story "Where Are You Going, Where Have You Been?" is a work dedicated to Bob Dylan. With the growth of cross-media research between music and literature, such a theme in this story hasn't been systematically brought to deeper study. This article aims to explore the unique cross-media narrative features of literary and musical integration in the story, and the implications of this from the perspective of cross-media narrative.The protagonist Connie’s personal experience closely mirrors the themes of Dylan’s song “It’s All Over Now, Baby Blue.” And this connection is particularly evident in the story’s end, where Arnold Friend’s reference to Connie as “little blue-eyed girl” directly mirrors the song's title, “It’s All Over Now, Baby Blue.” By utilizing the characteristics of the music, the text creates a thematic resonance that aligns the music with the fiction’s underlying motifs, thereby enriching the emotional and spiritual depth of the narrative. This interplay between music and literature lends the story greater significance, reflecting the distinctive cultural and social context of the 1960s. This article provides a new perspective in the research of "Where Are You Going, Where Have You Been?", and a new example for further studying in cross-media narrative.

As a young artist who has grown up in the 21st century, Li Shun employs “light and shadow” as the medium for his artistic creation. In the three sections of his art exhibition titled “Capturing Light and Shadow”, he has accomplished the inheritance and innovation of traditional Chinese literati art through intermedia means by utilizing video, paintings, calligraphy works, and urban landmarks. From the perspective of Lars Elleström’s theory of media modalities, Li Shun’s exhibition is intricately connected across four aspects: material, sensorial, spatiotemporal, and semiotic modalities, forming a media mixture of “light and shadow” art within the intermedia field. Li Shun’s intermedia reinterpretation of traditional Chinese literati art inspires young artists not only to modernize traditional art in terms of form and content but also to recognize that art is a metaphysical spirit rather than a physical skill. Intermedia art creation is in the ascendant, and the mission of young artists to “fight for art” continues.