The unanticipated product of a survey involving 190 non-professional readers, this first-report paper looks at the way memories from different source media overlap, along with the potential consequences of this phenomenon for existing approaches to reader behaviour.

The paper begins with a focus on how everyday readers articulate their recollection of literary works, in particular those moments they found most memorable. We identify a common situation in which participants ‘mix up’ recollections of a book's content with memories of their respective film or TV adaptations. We offer the term spontaneous transmedia co-location to describe this form of effortless recall involving memories of literary texts which spontaneously trigger memories of other, visual media. We outline five preliminary modes of spontaneous transmedia co-location (STC) and explain what they consist of.

Finally, we elaborate how STC ties into wider theories of how readers and other consumers interact with media, and how they tend to remember and otherwise connect them in a transmedia space.

El objetivo de este estudio es analizar hasta qué punto los cibermedios han permeado el ejercicio electoral latinoamericano. Los casos de estudio se centran en las campañas políticas presidenciales de los candidatos que disputaron las elecciones de Colombia y México en el 2018, bajo la perspectiva de la comunicación transmedia que permite la expansión de un relato a través de diversas plataformas. Asimismo, se propone de manera innovadora un modelo de sistemas intermediales transmedia como una propuesta metodológica de comunicación en escenarios electorales propios del contexto de la llamada cultura de convergencia mediática. La hipótesis de partida asume que lo transmedia no se hace todavía patente en los mensajes políticos y electorales. La metodología se centra en los casos de estudio de los principales candidatos y el análisis de contenido de sus webs y redes sociales (Twitter, Facebook y YouTube). El resultado evidencia cómo el discurso político usado por los candidatos migró a las plataformas digitales, pero mantuvo la tipología propia de los medios tradicionales, desconociendo aún las posibilidades que ofrece el transmedia storytelling para incentivar la participación activa de los posibles electores en la producción de contenidos para la campaña.

This article re-examines Krapp, ou La Dernière bande (1961), an opera adaptation of Samuel Beckett’s Krapp’s Last Tape (1958), which was a collaboration between the playwright and the Romanian composer Marcel Mihalovici. Beckett’s changes to the libretto give new insights into the writer’s developing concerns around form and his aesthetic of failure. In the programme for the Bielefeld production of the opera in 1961, Beckett supplied a sentence from the German translation of his Texts for Nothing, although inverting its first two clauses. His inclusion of this line in the programme affords us greater insight into Beckett’s ever evolving conception of the play. Shane O’Neill’s doctoral research on Samuel Beckett’s self-translated drama is funded by the Irish Research Council. He teaches at Mary Immaculate College, University of Limerick, and has published essays in Samuel Beckett Today/Aujourd’hui and the edited volume Samuel Beckett and Translation (Edinburgh University Press, 2021).