Academic literature on the topic 'Intertextual mechanisms'

AbstractThis essay proposed to analyze the profile of Adriana Bittel’s writing with deep meta and intertextual accents. In a transgressive and textual framework of the 80’s generation prose, the work presents a new way of approaching the narrative by intentionally disposing all its mechanisms of conception, in a context in which the fiction self-comments and brings the reader with all the tools and components of “textual engineering”.

В статье интертекстуальные включения в ткани принимающего текста рассматриваются как когнитивно выделенные компоненты высказывания, неизбежно оказывающиеся в фокусе внимания адресата. В качестве основного механизма перспективизации интертекстуальных отсылок рассматривается когнитивная операция сопоставления, что позволяет автору видеть в интертекстуальных отсылках метафору. Материалом исследования служат насыщенные аллюзиями произведения А. П. Чехова. Автор классифицирует интертекстуальные включения в текстах А. П. Чехова на мифологические, библейские и литературные и оценивает возможность их сохранения при переводе на китайский язык. The paper offers a comprehensive study of cognitive processes and conceptual operations underlying intertextual inclusions, which make them the figure in the ground of the receiving text, thus bringing them to the focus of the addressee’s attention. The author suggests that intertextual inclusions can be viewed as metaphorical expressions due to the common mechanism of identification being the basis of the two. To make the research more argumentative the author analyses intertextual allusions in A. Chekov’s works which serve as material for research. The studied examples are classified into allusions to mythological, bible and literary works. The author attempts to convey the meaning of the allusions under analysis into Chinese and studies the factors influencing the possibility of the translation process.

This paper aims to demonstrate mechanisms of intertextual strategies, which require the recipient to be familiar with pragmatic codes, to discover references and allusions, and to be able to discern various textual relations. The analyses have been conducted on the example of four titles: W Sieci (On the Web), Polityka (Politics), Najwyższy Czas (High Time), Przegląd (Overview). The motivation for the research was the conviction that the title page in opinion-forming periodicals functions as a product of mass culture and can serve as the basis for describing the area of interests of the contemporary human being. Keywords: pragmalinguistics – language games – intertextual strategies – language of the press

The article analyses persuasion mechanisms in advertisements. Abstracts of English scientific editions taken from advertising catalogues of foreign Publishing Houses are used as the experimental material for the research. Abstracts are treated as a special type of minitexts, combining features of scientific and advertising discourse. Intertextual elements are an integral part of the scientific discourse, and being used as a structural element of the abstract, they serve as a means of facilitating the merge of the two discourses. An attempt is made to classify the intertextual elements according to their content. The obtained results enable to conclude that opinions by far outnumber comments. Quotations were further systematized according to the pragmatic function they perform, as a result, five types of quotations were singled out, which ratio makes it possible to draw another conclusion that the functional paradigm of the intertextual elements in the advertising abstracts of scientific books undergoes some changes compared to the original scientific text. In the abstracts of scientific books, quotations, in addition to the referential function, acquire distinct imperative and evaluative functions, and this makes them an instrument of persuasion.

Intertextual connections, interiorization (internalization), “naturalization” of man, change of visual “plans”, impressionistic vision of nature - these and many other methods define the poetics of the Leningrad poet Gleb Semyonov (1918 - 1982), as well as make his lyrics an exemplary model, demonstrating the “mechanisms” of the poetic landscape perception. This determines the purpose of the study and its practical significance.

The article deals with Tadeusz Rożewicz’s poem jest taki pomnik and puts forward a new interpretation concerning the mechanisms he uses to construct meanings. The author focuses on three issues: (1) the role of photography as an interpreter, (2) intertextual encryption of key contexts for the spiritual idea of the poem, (3) the allopathic function of laughter. She also indicates components of the strategy of undecidability, as a result of which a work containing what might seem an unambiguous ideological statement launches mechanisms guarding against one-way reading.

Proper names are important elements of a fiction story. Unfortunately, they are not enough researched through the prism of onomastic game. In this article, we verify the hypothesis that intertextual proper names, or “gamemes”, perform important functions in a fiction text. Using them, an author creates a ludic text, which reflects a non-standard and creative approach to its consideration. This article aims to analyze the functions of “gamemes” used in a tale by Vladislav Krapivin, a Russian children’s writer. To achieve this goal, the author of this article has applied the methods of interpretation, classification, linguistic analysis, contextual and component analysis. The research novelty of this article lies in the analysis of the functions of game intertextual onomastic units in V. Krapivin’s “The Piroskaf Grandfather Mazai”. The research object is V. Krapivin’s novel “The Piroskaf Grandfather Mazai” (the version of 2018), which is interesting from the onomastic point of view. One can say that this novel is a proper names’ manifest, because there are a significant amount of onomastic units concentrated in a relatively small text. The gamemes used in the text are the units, analyzed in this article. The results allow defining three dominant functions, which create a special ludic context in perception of onomastic units. In addition, we describe linguistic mechanisms for implementing these functions. The sense-forming function plays a big part in the text formation: the intertextual onomastic “layering” effects in carnivalization, attracting the interest of the text’s core audience — children. The evaluation function shows author’s modality through the connotation loop of intertextual gamemes. The marking function is the indicator of a fictional world, or chronotope.

In this paper we attempt to analyze the stylistic resources used by the Spanish writer Enrique Vila-Matas in the construction of his novels Bartleby & Co., and El mal de Montano. We focus on the use of certain aspects of intertextual mechanisms, displayed in the development of the fable, which gave rise to these novels. Thus, we reflect on the construction of the characters, as well as on their relationship to both the archive and literary tradition.

RESUMEN: Aplicando una metodología hermenéutica intertextual, el artículo ofrece un análisis de diferentes momentos en la articulación del humanismo poscolonial, sistematizando los nexos conceptuales entre las propuestas de Fanon / Bhabha y Bhabha / Said. El artículo interpreta el humanismo poscolonial como una epistemología crítica que permite dilucidar los mecanismos de violencia cultural y epistémica inherentes a los proyectos y a las narrativas etno-nacionalistas, y plantea la posibilidad de un horizonte de ciudadanía intercultural en el contexto presente de crisis de la Unión Europea posBrexit.ABSTRACT: This article offers an analysis of different moments in the articulation of postcolonial humanism through a systematization of conceptual nexus among the proposals of Fanon / Bhabha and Bhabha / Said, the article highlights the contemporary dimensions of postcolonial humanism. By doing intertextual hermeneutic analysis, the article interprets postcolonial humanism as a critical epistemology that elucidates the mechanisms of cultural and epistemic violence inherent to ethno-nationalist narratives and strategies, in the current context of postBrexit EU crisis.PALABRAS CLAVE: interculturalidad; etno-nacionalismo; humanismo poscolonial; democracia; derechos universalesKEYWORDS: interculturality; ethno-nationalism; postcolonial humanism; democracy; universal rights

If late modern literary production is structured by any principles rendering order to the otherwise nebular character of the process, this is the idea of intertextuality that paves the way for the dissolution of well entrenched structures, literary conventions and institutionalized canons. By fostering and facilitating the erosion of boundaries between elite and popular culture, mechanisms of intertextuality show that literature is not only a fixed collection of texts, but also a dynamic social system including structured practices of production and reception together with their institutional, cultural and technological determinants. The paper aims to provide a sociologically-oriented model of intertextual relations taking place within the social system of literature. In this context, circulation, dissemination, and recycling of literary motifs is viewed from a perspective of morphogenetic processes which result in the structural elaboration and systemic change due to the mobilization of social, cultural, and economic capitals in an effort to alter pre-existent practices of signification. Consequently, literature is discussed as an intertextual system in statu nascendi, a sphere of social practices that knows no sense of institutional boundaries or structural constraints.

A presente dissertação propõe o estudo da vida e obra da autora portuguesa Júlia Nery, mais especificamente, a análise de uma de suas peças de maior cunho intertextual: O plantador de naus a haver. Para tanto, é feito inicialmente um relato de como se deu o processo de pesquisa de sua produção literária, desde o primeiro contato com a peça no curso de Pós-Graduação intitulado \"A literatura portuguesa em cena\" (FFLCH-USP), até a localização da Autora, que resultou na reunião de um material bibliográfico que serviu de base para a elaboração deste trabalho. Em seguida, é realizado um apanhado teórico em torno da intertextualidade, a partir dos estudos sobre a linguagem empreendidos por Mikail Bakhtin, e das contribuições teóricas de Julia Kristeva, além de outros pesquisadores e lingüistas contemporâneos, que têm, ao longo do tempo, pesquisado e ampliado as diretrizes bakhtinianas em torno do dialogismo e da polifonia, além dos estudos acerca dos mecanismos que promovem a intertextualidade. Posteriormente, são analisados os textos paradigmas com os quais a Autora travou diálogo para criação de sua peça. Segue-se a análise do texto dramático, utilizando-se como instrumentos intertextuais, a paráfrase e a estilização, uma vez que esses mecanismos demonstram ser, de fato, os adjuvantes para recriação do longínquo medievo português, bem como da própria biografia de D. Dinis, a personagem central. O objetivo principal de tal análise é o de trazer à tona, elementos diversos que, constantes nas entrelinhas de O plantador de naus a haver, contribuem para a revelação do ponto de vista de seu Autor em relação à personagem principal, ao contexto histórico-literário no qual se insere, além é claro, de apresentar a sua visão de mundo. Como O plantador de naus a haver também é destinado ao ensino de Literatura Portuguesa, algumas considerações sobre a relação teatro-educação também são tratadas, a fim de se investigar o intuito pedagógico da peça, que, como poderá ser visto, propõe uma gestão criativa de seu conteúdo, a partir da interação entre o texto e seu interlocutor, por meio da expressão dramática.
The present dissertation deals with the biography and work of the Portuguese author Júlia Nery, more specifically, an analysis of one of her plays with the greatest intertextual feature: The planter of ships-yet-to-be. Before localizing the author, at the very beginning, it was made a description of how the research process of her literary production takes place since the first contact with the play in a course from an academic program named \"A Literatura Portuguesa em Cena\" (FFLCH-USP). All of this has resulted in a set of bibliographical material that was used to implement this dissertation. A theoretical synthesis was made concerning the intertextuality from the language studies that were undertaken by Mikail Bakhtin and afterwards some theoretical contributions of Julia Kristeva. Other contemporaneous researchers and linguists that have studied for ages enlarged the Bakhtin\'s bases around the dialogism and the polyphony beyond the studies above the mechanisms that have promoted the intertextuality. Subsequently, the texts with paradigms, which the author established as a dialogue in the creation of her play, have been analysed. Soon, the analysis of the dramatic text follows in this dissertation based on intertextual tools, such as the paraphrase and the stylization, as the mechanisms which are being apprehended like the main attributes for a recreation of the faraway Portuguese Middle Ages, even the own biography of D. Dinis, the central character. The main goal of such analysis highlights several elements that appear in The planter of ships-yet-to-be read between the lines, contributing to the revelation of the author\'s point of view in relation to the main character, to the historical and literary context in what the work has been inserted, besides presenting the author\'s background in a contemporaneous world being inhaled by her play. As The planter of ships-yetto- be is also addressed to the Portuguese Literature teaching, some considerations intertwining theatre and education are approached in order to investigate pedagogical purposes in the play, proposing a creative operation of its content from the interaction between the text and its interlocutor through dramatic expressions.

Esta dissertação visa a demonstrar como o conto O Barão, de Branquinho da Fonseca, publicado em 1942, foi estilizado por Sttau Monteiro. Para tanto, examina alguns mecanismos intertextuais presentes na peça homônima adaptada para o teatro em 1964. Inicialmente, discutimos o conceito de intertextualidade, a partir dos estudos sobre a linguagem empreendidos por Mikhail Bakhtin, e das contribuições teóricas de Julia Kristeva, além de outros pesquisadores, que têm, ao longo do tempo, pesquisado e ampliado as diretrizes bakhtinianas em torno do dialogismo. Dentro de tais princípios também serão investigadas as mensagens sugeridas pelas rubricas. Finalmente, a análise dos mecanismos intertextuais e da visão sócio-política estilizada visa a confirmar que Sttau estilizou a obra de Fonseca.
This lecture intend to demonstrate how the short-story O Barão, by Branquinho da Fonseca, published in 1942, was stylished by Sttau Monteiro. Thus, we describe some intertextual mechanisms constant in the homonymous play adapted for the theater in 1964. To start, we will discuss the concepto if intertextuality, from the Mikhail Bakhtin studies about language, and the Julia Kristevas theoric contributions, besides other Researcher, that have enlarged the bakhtian directions on dialogism. Within those principles we are also investigating the messages suggested by the directions. Finally, the analysis of the intertextual mechanisms and of the socio-political conception of the playwright intend to confirm that Sttau stylished Fonsecas work.

The Conclusion summarizes and synthesizes the arguments of the book, drawing out the central implications of dialogic processes for our understanding of medieval literature in Italy and, potentially, for poetic writing more broadly. This synthesis revisits the key claims about the importance of the tenzone as both mode of dialogue attested in specific exchanges and as a framework for thinking more broadly about intertextual dialogues in Italian texts of due- and early trecento. It presents the fruitful lack of closure in the works of Guittone, Guinizzelli, Cavalcanti, and Dante. By foregrounding the mechanisms of literary self-representation it encourages an understanding of the inherent instability of these poetic performances of subjectivity, sometimes in spite of a poet’s best efforts to control their narrative of self and literary authority.

This article is devoted to the innovative violin method of teaching which reveals different angles of the paradigm processes of the formation of the text of violin instrumental music of the era on Romanticism and the semantic organization of the musical narrative in the development of the intertextual dialogue "one's own-another's" on the material of the 5th Caprice for Paganini's violin-solo. The problem of dialogue in art in a broad sense is now one of the most popular both in modern domestic musicology and in culture in general. This exploration constitutes a fragmented but very important section from the structural elements of which the research innovative violin methodology is formed and consist, which rapidly increases motility, qualitatively alters of sound production, accurately, clear articulation, uses new technology that instantly allows you get rid of tension in the muscles during the performances of musical pieces, regardless of the speed of the pace of the instrumental pieces being performed, allows instant concentration and helps to overcome the stage excitement of the performer, using a combination of carefully selected instrumental and psychological tools (attitude and practices). The technique pushed the author to highlight the main directions and principles of interaction of textual reincarnations. The stated problem significantly expands the spectral directions in the study of the semantic organization of narratives in research exploration. The study of the texts of instrumental pieces in intertextual interactions allows to get into the processes of text creation and to investigate their influence on the realization of the final idea of the composer and performer. The process of forming the text of instrumental music as the end result and the end point of full-fledged research is an open scientific problem. The peculiarity of this study is the intersection of musicological, cultural and psychological views on the stated issues. We’re guided in its work by various multifunctional methodologies of several scientific areas: from purely musical to culturological (using synergistic, hermeneutic, gnoseological and aesthetic approaches) and psychological (relying on the knowledge of the psychology of creativity using various setting and practices, existential approach). The use of research innovative violin technique makes this study unique and different from previous explorations. The approach to studying the text of any volume and complexity will be the key to a better understanding of the cultural dialogue of postmodern times, when the performer face to face enters into an imaginary dialogue of artists in the study of cultural processes, to better understand themselves, to clarify cultural, psychological and musicological paradigms of reading an artistic text. The study of the semantic mechanisms of the instrumental text will provide an opportunity to delve into the processes of textual dialogue and will reveal the features of the artistic possibilities of the theme of Caprice 5, which acts as an intertextual model for any instrumental pieces, regardless of the time of their creation. Culture reveals its meanings through the stylistics of texts, which is why it is so important to master different ways of thinking. And cultural stereoscopicity will allow us to consider the problem of intertext mechanisms polyphonically and dynamically, from the study of cultural codes and communications to the revival of cultural space in the polyphony of existence.