This article deals with the transition to open access in Sweden, as part of the general transition to open science. Goals set by the Parliament and the government are discussed, as well as the strategies of the national Bibsam consortium, handling national deals with publishers, and of the Swedish Association of Higher Education Institutions. The development from the first stages in this process, where a main goal was to gain cost control, over a period with read-and-publish agreements to a situation where transformative agreements seem to tend to become permanent, is analysed. Finally, a number of possible scenarios for future developments are discussed, arguing for the need for university leadership to take an active part in the work towards a transition; it is not only an issue for individual researchers, or for librarians, but for the research community as a whole where universities are key players.

This article analyses the self-perceived health of the population surveyed by the European Health Interview Survey (EHIS), with 316,277 observations. The main novelties of this research are: first, we use the econometric technique of quantile regression, which will allow us to distinguish the respondent’s income level. Second, the personal, social, lifestyle and macroeconomic context dimensions of the respondents are considered simultaneously as determinants of self-perceived health. In this way, we will be able to see what the determinants of health are, and whether they vary with income. Finally, it is evident that there are indeed different responses to the same stimulus depending on the level of income, especially in the elasticity of the response, seeing how the higher the income, the more or less the same stimulus influences a person. In addition, it is established that age, nationality and employment status are the most influential variables in self-perceived health.

The amount and quality of clinical research are constantly increasing; however, the translation of results into daily practice is not keeping pace. University curricula provide minimal methodological background for understanding the latest scientific findings. In this project, we aimed to investigate the quality and amount of clinical research compared with basic research by analysing ten doctoral schools in Hungary. We found that 71% of PhD theses were submitted in basic sciences. The majority of physicians (53%) working in clinical institutions did their PhD projects in theoretical departments. Importantly, recent clinical methodologies such as pre-registered randomized clinical trials and meta-analysis are only rarely used (1% and 1%, respectively) compared with retrospective data analysis or cross-sectional studies (30% and 43%, respectively). Quality measures such as international registration, sample size calculation, and multicentricity of clinical sciences are generally absent from articles. Our results suggest that doctoral schools are seriously lagging behind in both teaching and scholarly activity in terms of recent clinical research methodology. Innovation and new educational platforms are essential to improve the proportion of science-oriented physicians.

Innovation and R&D activities have significant effects on economic development and firm success. Innovation is a key factor in economic development through productivity gains. However, firms do not perform the socially optimal level of innovation due to market failures. Therefore, innovation activity is largely supported by governments for both developed and developing countries with the aim of creating additionality. While additionality effects from government supports are widely discussed for developed countries, there is scarce evidence for developing countries. The aim of this article is to analyse innovation behaviour of Turkish firms based on firm characteristics. Further, the behavioural additionality of government support is also analysed in order to provide a full picture. For this aim, the innovation structure is analysed using a multinomial logit model and the additionality effects are analysed using the propensity score matching (PSM) technique. Results indicate that firms that are profit-oriented, produce for the internal market and have an internal R&D unit, are more likely to implement organization and/or marketing innovation in comparison with product innovation. In addition, the same pattern is observed in companies that received government support. The results additionality indicate positive effects on behavioural additionality; however, this effect is evaluated to be limited.

The objective of this research is to perform a comprehensive evaluation of the top 100 articles concerning university rankings, with the highest number of citations, which were published in academic journals during a period of five years, specifically from 2017 to 2021. This article adheres to the guidelines established by the PRISMA extension for scoping reviews. The selection of the 100 most frequently cited articles on the subject of university rankings is carried out by initially identifying 684 articles and subsequently screening 537 of them. Through an examination of these articles, the prevailing research domains, methodologies, samples, data collection instruments, data analysis techniques, focused variables, and keywords are determined. The abstracts of these articles are subjected to content analysis, resulting in the identification of five key themes: rankings, methodology, analysis, approach, and education. This investigation stands out as one of the pioneering studies in the field of research articles on university rankings. By delineating the boundaries of such studies, it aims to illuminate the path for future researchers by highlighting the existing gaps in the current literature and areas that warrant further exploration.

The European Plan S initiative intending to transform the field of academic publishing towards open access has been received with both enthusiasm and criticism. This article reflects on this case as an example of how policymaking in ‘the Europe of Knowledge’ – characterized by increasing complexity caused by problems of multi-level coordination, combined with multi-actor divergence of norms, ideas, and interests − affects and triggers university responses. The analysis of response to this initiative for reform of scientific publishing takes the concept of normative match and mismatch as its theoretical point of departure, and the article provides an overview of how Plan S has been implemented in Norwegian higher education, where the challenge for universities has been to find a balance between responding to political expectations and expectations from societal and academic stakeholders. Our findings suggest a normative mismatch related to the Plan S initiative. The article argues that the university level was left with the task of defending the academic freedom of the individual scholar, while also being delegated the responsibility of controlling the rising costs of publishing services. As a result, issues relating to academic publishing are currently of strategic interest to universities.

In Europe, building transnational networks has become a crucial means for realizing bottom-up Europeanization and implementing the European Union (EU) policy at the grassroots. The value of transnational networks lies in clarifying political exchanges, decision making and policy transfer below the EU level. As a core element of the EU’s cultural action, the European Capital of Culture (ECOC) is an important vehicle to promote transnational cooperation. However, whether in theory or practice, transnational networks among ECOC host cities have not received much attention from academia. Based on a qualitative meta-analysis, this study offers a holistic overview of the experiences of the ECOC programme over 40 years. It aims to answer two sets of research questions: (1) What types of transnational networks have been established among ECOCs? How do they operate? What functions do they have, and what are their impacts and limitations? (2) How do these transnational networks reflect the multilayered nature of European governance and the dynamics of Europeanization? Through this article, ECOC research can have a closer relationship with recent innovations in disciplines that are studying the EU’s political and societal processes.

As digital publishing gains momentum globally, it presents unique challenges in different regions and cultures. To address these challenges, it is important to understand the specificities of each local context. In light of Actor Network Theory (ANT), which advocates an interdisciplinary approach through an association of related factors from different fields, this article examines problems of Chinese digital publishing, focusing on one giant database, called the Chinese National Knowledge Infrastructure (CNKI). The discussion falls into three parts. First, the self-positioning of CNKI. As the sole academic database giant, it encounters a dilemma between making profits and serving the public – it has been criticized for charging high subscription fees and for committing intellectual property infringements. Second, the scholars, while becoming more dependent on digital publishing and such a giant database as CNKI, are bewildered by the fact that they become less capable of protecting their academic autonomy as well as their intellectual copyright. Third, CNKI’s near monopoly has damaged domestic academic justice, which becomes detrimental to the development of Chinese academic journals and the international transmission of Chinese scholarship. The article concludes with an inquiry into possible solutions for building a new academic ecosystem in the digital era, locally as well as globally.

Blind peer review has become the gold standard of many scholarly disciplines. However, this seems like a paradox since openness is deeply embedded in the DNA of research. Over the last 30 years changes in the managerial paradigms of academia have also induced so many changes in the ecosystem of scholarly communication that many scholars describe the present situation as a crisis. Therefore, in light of the availability of new technologies and the changes in the scholarly communication ecosystems, it might be time to review how we assess research quality and address the paradox of the blindness of peer review.

This article looks at publication strategies from two perspectives. First, the author describes her own publication strategy. She shows how it evolved over time and explains why she adopted a balanced strategy mixing books and papers, English and French, collective and individual authorship. She then builds on her experience as co-editor of two journals, one French and one international, analyses the consequences of the passage of the first to a big commercial publisher and compares the decision-making processes in the two cases. She finishes by pleading for decision-making procedures that allow more discussions and collegial work than the current systems of editors soliciting reviewers.

For half a century, digital machines have lent their computational power to mediate text-based, diegetic worlds, in the shape of software that we call games, video games, or sometimes interactive fiction. Perhaps the first such was Gregory Yob’s simple labyrinth-monster game Hunt the Wumpus (1973), but ever since then the games (if that is what they should be called) have become larger and far more complex, and, in recent decades, a single such work can contain more text than, say, Shakespeare’s collected plays. Given this massive textual content, as well as the often experimental and innovative nature of these works, they can also be considered a new form of novel; a kind of text that has much more in common with literature than with other digital games such as Candy Crush Saga, Age of Empires or Counterstrike. In these ‘games’, we find complex characters, difficult ethical choices (left to the player), imaginative landscapes and mythologies, and thousands if not millions of lines of carefully crafted prose. Teams of writers work collectively to stich these textual universes together, under production conditions that might remind us of multi-season TV series, but which are structured and consumed very differently – in fact, more like literature than TV. The claim made in this article is that the perspective of the novel (or supernovel) is a productive one for understanding the nature of these artistic works of ludic software. Should they be considered Literature? Through a discussion of the notions of literature, novel, and fiction and through a close ludic reading of Fallout: New Vegas (2010) I will argue that these textual games are in fact Literature, a new kind of novelistic genre, and discuss the wider cultural implications of this assessment.

Blade Runner (1982), directed by Ridley Scott and adapted from Philip K. Dick’s Do Androids Dream of Electric Sheep? (1968), incorporates the media of film and photography and utilizes various filmmaking techniques, including cinematography, sound effects, and dialogues, to reflect on the complex relationship between humans, technology and power. Through cinematographic techniques such as light and dark contrast, shifting eye-level and high camera angles, as well as geometric patterns, the film portrays a technologically-advanced futuristic city and its underlying issues of power struggles and social hierarchy. The portrayal of replicants, through static and moving images and sound effects, emphasizes their close resemblance to humans, particularly their performance of emotions, and how technology alters the fundamental concept of humanity. Photography, as a medium, captures an unreliable and incomplete moment of childhood to expose the dystopian nightmare of memory manipulation that severs the connection between memory and identity. This article analyses Blade Runner as an intermedial narrative that highlights the tension between the deceptive appearance of a futuristic city, with flying cars, replicants, and other technologies created for human convenience, and the harsh reality of posthuman crises such as social hierarchy, technological dominance, memory manipulation, and replicant rebellion.

Animation and live-action are two closely related media, which are foremost distinguished by the ideas and conventions surrounding them. The diverging discourses around animation and live action have tended to focus on animation as something constructed to represent characters and settings and on live action as something capturing actors and sets representing characters and settings. This difference between constructing and capturing, along with the perceived indexicality of the photo, is what seems to suggest live action as the preferred medium for documenting real events. Sound effects, in the form of recorded and edited sounds of objects, actions and environments, are of particular interest here, as they can be considered to balance somewhere between these poles of construction and capture, between the non-indexical and indexical, and ultimately between representation and reproduction. In this article, I will focus on aspects of ‘truth’ (understood as corresponding to some external reality) and ‘realism’ (understood as a representation of external reality) and how something comes to be perceived as truthful or realistic in animated documentaries in relation to the role played by sound effects. By discussing the Danish film Flugt [Flee], I will show how sound effects can aid in creating representations of truth.

Samuel Beckett’s corpus centres on the characterization, examination and imaginative exploration of the human mind, encompassing the realms of consciousness, cognition and perception. In his teleplays, this focus is distinctively achieved through the performances of different media, which this article refers to as ‘intermedial performativity’. This term not only designates the semiotic contents of performance in intermedial forms, but also highlights the cooperative performances of the material media themselves, along with their uncharted possibilities and effects. This article delves into the ways in which intermedial performativity in Beckett’s teleplays realizes several unique configurations of the human mind, such as its split state and its transfiguration to a posthuman condition. This exploration not only sheds light on Beckett’s artistic vision and cosmic ontology, but also brings attention to the reverberations and implications of intermediality for humanity and its potential transformations.

American sculptor David Smith moved fluidly between media to elicit the kind of aesthetic reaction that he believed was unique to and inherent in modern art. As remediation of his sculpture, Smith’s photography attains its own performative power by establishing a new aesthetic relationship with its spectators. This article applies Lars Elleström’s medium-centred model of communication to the analysis of the intermedial quality of David Smith’s photography. By emphasizing the significance of mediality and communication, it offers a new interpretation of the transmutation of modern sculpture as an alternative to modernist aesthetics. In this way, this case study of David Smith’s photography functions as an initiative of expanding the research of intermediality beyond formalistic analysis, by integrating art history with communication and media studies.

As a theatrical phenomenon, cross-dressing performance has passed down through many centuries and manifested itself in different parts of the world. In the era of film and television, it was adapted to and has appeared on screen, as a popular means of entertaining the audience, and so plays an important role in influencing public opinions on certain social and cultural issues, such as the politics of gender and interculturalism. In light of theories of gender performativity and cultural agency, the intermediality of cross-dressing performance is approached in this article, mainly based on a careful analysis of Li Yugang’s solo shows on TV, the Chinese film Farewell My Concubine, and the American film M. Butterfly. By having the intermedial intersected with gender and interculturalism, this article argues that intermedial cross-dressing performance, on the one hand, has transformative power over gender politics, as it contributes to the gradual acceptance of differences in gender as well as other social categories. On the other hand, in some cross-dressing performances on screen, the subversive and the reiterative are blended together in cross-dressing performance, which undermines the legitimization of sexual orientations outside of the heterosexual norms. In addition, the entanglement of intermediality and interculturalism in cross-dressing performance in such a film as M. Butterfly contributes to critical reflections on cultural and categorical boundaries, which has profound implications for cross-cultural communications.

Comparing source and target media products is the main intermedial method for studying adaptations. The inventory of similarities and differences produced by such an endeavour provides evidence for the processes of transfer and transformation that have happened between the two media. But the finished media products are not the only traces of the process of adaptation. In practices of adaptation that happen inside media industries, such as film adaptations, the process is also documented in different forms and for different archival or market-oriented purposes. The process of film adaptation is, for instance, usually captured – although in fragments and in a staged format – by intermediary filmic media products – such as ‘making of’s – that are rarely considered as the main study objects in adaptation studies. As this article argues, such processual ways of looking at adaptations do not undermine the importance of comparative approaches but complicate the grounds for comparison. Suggesting a methodological shift to the process, the article expands this idea through a cross-pollination between adaptation studies and (media) production studies and exemplifies it through discussion of examples and one extended case study.

Based on a rough conceptual divide of (parts of) media studies, including intermedial studies, this article presents two positions based on interests in media as transmission and representation, or media as ecological frame, or media agency. Following that, the article discusses how a new concept in environmental studies, ‘environing media’ or ‘environing technologies’ – where representation and media ecological agency seem to find a fruitful meeting point – is discussed in more detail. That description and discussion are put into a debate with central ideas of intermedial studies, before the final part of the article briefly exemplifies the theoretical ideas in the case of the IPCC report’s Summary for Policymakers (2021).

The preservation of declining xiqu heritage through remediation and transmediation has often been ineffective in attracting a wider audience. The Cantonese opera film White Snake (2021), with its unusual utilization of computer-generated technology and transgressive combination of various media, offers a fresh approach to popularizing xiqu among younger audiences. To overcome aesthetic differences between cinema and xiqu, the film transforms medium specificities and transmedial potentials of Song landscape paintings and martial-arts film, adapting them to a new scenic and choreographic setting. By altering the original play’s sensory and semiotic modalities, White Snake’s transmedia aspects blaze a new trail for popularizing xiqu heritage for a new generation.