M. Benedetti and A. Segui-anos-de-vida-historias-de-paris-ryan, The short story was translated by Maya Gross as " Five Years of Life, " in Blood Pact and Other Stories, 95-105. 2. The term is used here in David Herman's sense, and is also used by Marie-Laure Ryan (see Her­ man Toward a Transmedial Narratology Introduction, Defining Media from the Perspective of Narratology, " and " On the Theoretical Foundations of Transmedial Narratology " ), pp.16-33

S. Ryan, On the Theoretical Foundations " 2 and Avatars of Story 4-5. Ryan presents this ap­ proach in the section titled " Positions Hostile to Transmedial Narratology She also dismisses the weaker form of this approach, which takes the speech-act-based definition in a metaphorical sense to incorporate certain non-verbal narratives (see the theories of the dramatic narrator, or " shower

S. Ryan, On the Theoretical Foundations " 2-3 and Avatars of Story 6 Ryan presents this idea as an alternative to what she calls " media relativism, " according to which two different media cannot convey the same meanings (stronger form) or, if they can convey the same meanings, cannot have the same expressive resources (weaker form) Media relativism is the second position incompati­ ble with transmedial narratology

S. Ryan, Avatars of Story 19 and " Narration in Various Media, pp.478-479

. See-for-example-de-como-icaro-aprendid and . Volar, Abadie 169), the series A vous defaire I'histoire [It is up to you to make the story], 1965-69 (ibid. 90-93), with a playful or parodying dimension, Remember Buenos Aires, 1984 (ibid. 172), or the famous Pensando Mucho [Thinking a lot, or again Los, 1977.

. From, Sylvie Patron: Would you have illustrated the short story in the same way if it had been written in the first person? Antonio Segui: Yes, in the same way. S. P.: Can a painter paint, the first person " ? A. S.: 1 don't think so

. On and . Banfield, (the definitive characteristic of evaluative adjectives is that they can appear in an exclamative of the adjective + noun type, e.g, pp.54-56

S. Thon, Toward a Transmedial Narratology for a further development of this position, based on the analysis of examples. See also Transmedial Narratology, pp.4-5

J. Alber, Unnatural Narrative In Handbook o f Narratology, pp.887-95, 2014.

A. Banfield, Unspeakable Sentences: Narration and Representation in the Language o f Fiction, 1982.

M. Benedetti, Cinco anos de vida, Historias de Paris Libros del Zorro Rojo, pp.16-33, 2007.

M. Benedetti and A. Segui, Histoires de Paris. Translated by Anne Casterman. Noville-sur-Mehaigne (Belgium): Esperluete Editions, 2009.

G. A. Bruder and J. M. Wiebe, Recognizing Subjectivity and Identifying Subjective Charac­ ters in Third-Person Fictional Narrative, Deixis in Narrative: A Cognitive Science Perspec­ tive, pp.341-56, 1995.

D. Herman, Basic Elements o f Narrative, 2009.

S. Kuroda, Toward a Poetic Theory o f Narration: Essays ofS, Kuroda. Edited by Sylvie Patron, 2014.

S. Patron, La Mort du narrateuret autres essais, 2015.

M. Ryan, Avatars o f Story, 2006.

M. Ryan, Narrative across Media: The Language o f Storytelling, 2004.

M. Ryan and J. Thon, Storyworlds across Media:, Storyworlds across Media: Toward a Media-Conscious Narratology, pp.1-21, 2014.
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D. Sibony, ?. .. Seguir, and . Segui, Paris: Cercle d'art, 1996.

J. Thon, Subjectivity across Media:, Storyworlds across Media: Toward a Media-Conscious Narratology, pp.67-102, 2014.
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R. Walsh, The Rhetoric o f Fictionality: Narrative Theory and the Idea o f Fiction, 2007.

W. Wolf, Intermediality Revisited: Reflections on Word and Music Relations in the Context of a General Typology of Intermediality, Word and Music Studies, vol.4, pp.13-34, 2002.
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S. Worth, 7. Pictures Can???t Say Ain???t, Studying Visual Communication, pp.162-84, 1981.
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