Relevant bibliographies by topics / Intertextual references

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Academic literature on the topic 'Intertextual references'

Author: Grafiati
Published: 24 April 2022

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Journal articles on the topic "Intertextual references"

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Nguyen, Naomee-Minh. "“This is similar to Vincent Chin”: Intertextuality, referring expressions, and the discursive construction of Asian American activist identities in an online messaging community." Discourse & Society 32, no. 1 (October 10, 2020): 98–118. http://dx.doi.org/10.1177/0957926520961632.

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While the linguistic practices of Asian American Pacific Islander (AAPI) communities have become more widely documented, little is known about how AAPIs discursively create shared political identities, let alone political identities online. In this study, I examine an online messaging community dedicated to AAPI political organizing. Focusing on the discourse of four highly active members of the community, I analyze stance-taking, their uses of what have been called “referring terms” or “referring expressions”, and the intertextual references they make. I show how users establish group values through stance-taking and in-group membership through using specific referring expressions, co-constructing the community’s identity as a marginalized political group. Through intertextual references, users index shared knowledge of cultural texts regarding AAPI activism and political organizing, such as references to recent and past hate crimes, current news, and AAPI non-profit organizations. I demonstrate how these intertextual references reinforce Becker’s notion that social groups’ identities lie in a shared collection of “prior texts.” Furthermore, I contend that the use of intertextual references aligns the community with the political implications and connotations of the references themselves. Through mutual recognition and understanding of shared texts, members create an online community that transcends ethnic and regional boundaries.
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Olshanskaya, Natalia. "De-coding intertextuality in classic and postmodern Russian narratives." Translation and Interpreting Studies 6, no. 1 (June 23, 2011): 87–102. http://dx.doi.org/10.1075/tis.6.1.05ols.

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Based on the comparison of intertextual references in several English translations of Fedor Dostoevskii’s Notes From the Underground and Victor Pelevin’s “The Ninth Dream of Vera Pavlovna,” the article addresses general issues of translating intertextual references in narratives. Special attention is devoted to the problems of reception of postmodern texts and the question of the translator’s ‘invisibility.’
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Velykoroda, Yuriy, and Oksana Moroz. "Intertextuality in media discourse: A reader’s perspective." ExELL 9, no. 1 (October 1, 2021): 56–79. http://dx.doi.org/10.2478/exell-2022-0003.

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Abstract The article is a part of a research project on how intertextuality is perceived by readers of media texts. The focus of the article is on how intertextual references are recognized, interpreted, and substituted by EFL respondents. Based on the results of the survey, conclusions are drawn to address the following research questions – whether respondents can recognize intertextual references as such in the context, whether they can interpret an utterance despite failing to detect intertextual segments, and whether there exists a correspondence between recognizability of an intertextual reference and attempts at defining and/or replacing it. This paper is an attempt to empirically verify theoretical views on intertextuality. The results of the survey provide insights into how intertextuality is perceived by respondents.
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Barzegar, Ebrahim. "Mulholland Drive: An Intertextual Reading." CINEJ Cinema Journal 4, no. 1 (July 13, 2015): 62–78. http://dx.doi.org/10.5195/cinej.2014.114.

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This article examines David Lynch’s Mulholland Drive from Kristeva’s concept of intertextuality. To achieve this aim, this study provides a close reading of the selected film so as to trace and illustrate the polyphonic network of references, citations, quotations and intertexts of Mulholland Drive to the significant already-made films such as Sunset Boulevard, The Wizard of Oz, and Persona.
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Shilikhina, Ksenia M. "Humour and intertextuality in online spoof news." European Journal of Humour Research 8, no. 3 (October 12, 2020): 83. http://dx.doi.org/10.7592/ejhr2020.8.3.shilikhina.

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The paper discusses spoof news as a parody of the traditional genre of news and the role of intertextual references in the creation of the intended humorous or satirical effect. The study is based on the texts published by various online sources specialising in the production and spreading of spoof news. On the surface, the main aim of such non-bona fide pieces of news is not to misinform the readers, but rather to entertain them. However, along with entertainment, these texts also convey serious social implications. They implicitly undermine social norms and values and existing stereotypes about social roles and patterns of behaviour. The non-bona fide mode of such news can be signalled by a variety of intertextual references, e.g., fictional quotations, allusions to well-known texts, events or realia. The aim of the study is to demonstrate how these intertextual references create satirical effect and convey social criticism.
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Pinar, Maria Jesús. "Humour and intertextuality in Steve Bell's political cartoons." European Journal of Humour Research 8, no. 3 (October 12, 2020): 16. http://dx.doi.org/10.7592/ejhr2020.8.3.pinar-sanz.

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The aim of this paper is to analyse 12 political cartoons published by Steve Bell in the left-wing oriented newspaper The Guardian to show how visual metaphors and metonymies and intertextual references are powerful strategies to present potent rhetorical depictions of political candidates and political issues. These devices are used to establish intertextual links across political cartoons and historical events, contemporary culture, paintings, literary works and illustrations. The themes that appear regularly in political cartoons have been identified, as well as a number of categories of source domains in visual metaphors. The analysis of the cartoons reveals that the interpretation of the cartoon and the appreciation of humour depend on the audience’s access to background knowledge, both of the political situation described in the cartoon and the intertextual references presented, on the audience’s ideology and on the decoding of the characteristics mapped onto the target of the metaphor.
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Tanskanen, Sanna-Kaisa. "Intertextual networks in the correspondence of Lady Katherine Paston." Journal of Historical Pragmatics 5, no. 2 (June 10, 2004): 255–69. http://dx.doi.org/10.1075/jhp.5.2.06tan.

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In the dialogue of correspondence, letters both respond to previous letters and anticipate new ones. The intertextuality existing between letters in a chain of correspondence can be made explicit, and it is these manifest intertextual connections that are explored in this paper. More specifically, the study focuses on the use of references to other letters as intertextual links. The analysis reveals that other letters, previous, future, and even some that were planned but never written, are explicitly present in the majority of the letters passing between Lady Katherine Paston and her fellow correspondents. Some types of references to other letters are constrained by the relationship of the correspondents and the frequency of the correspondence, while others function independently of such factors.
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Гэвин, Полина Ивановна. "ART IN WORDS: EKPHRASTIC REPRESENTATIONS OF PAINTINGS IN THE NOVELS BY D. RUBINA AND M. ATWOOD." Tomsk state pedagogical university bulletin, no. 3(215) (May 24, 2021): 92–101. http://dx.doi.org/10.23951/1609-624x-2021-3-92-101.

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Введение. Рассматривается литературная фигура экфрасиса и ее реализация посредством интертекстуальных референций в художественном произведении. Несмотря на относительную «исследовательность» феномена экфрасиса, подавляющее большинство существующих работ фокусируется на передаче значения между вербальным и визуальным медиумом, оставляя в стороне возможную читательскую интерпретацию экфрастического описания и его стилистическое выражение в тексте. Цель – провести лингвистический анализ экфрастических интертекстуальных референций и их возможное влияние на восприятие читателем художественного текста. Материал и методы. Материалом исследования послужили экфрастические отрывки из романа Дины Рубиной «На солнечной стороне улицы» и Маргарет Этвуд «Кошачий глаз» (‘Cat’s Eye’). В основе методологической базы исследования лежат следующие приемы когнитивной поэтики: дихотомия отношений «фигура – фон», модель литературного резонанса, теория нарративного взаимодействия. Результаты и обсуждение. Когнитивно-поэтический анализ экфрастической репрезентации персонажей в художественном тексте показал, что интертекстуальные референции связывают между собой сцены внутри нарратива, придают дополнительное символическое и метафорическое значение произведению искусства, на синтаксическом, семантическом и текстовом уровне имитируют визуальную организацию объекта искусства. Заключение. С помощью приемов когнитивно-поэтического анализа было рассмотрено стилистическое выражение литературной фигуры экфрасиса в художественном тексте. Занимая роль фигуры, персонаж, изображенный на картине, выступает как ярко выраженный аттрактор при воздействии на читательское восприятие. Данное перцептивное воздействие подтверждается типичными семантическими, синтаксическими и стилистическими характеристиками аттракторов, присутствующими в анализируемых отрывках. Сравнение экфрастического описания и соответствующего ему контекста показало параллелизм использованных конструкций, что свидетельствует о схожей организации их фигуро-фоновых отношений. Параллельные конструкции также являются признаком частных интертекстуальных референций, посредством которых объект искусства актуализируется в сознании читателя. Помимо контекстного окружения, интертекстуальные референции способствуют символической реализации персонажа в художественном тексте, дополняя его репрезентацию метафорическими и концептуальными смыслами. Introduction. The present paper examines a literary figure of ekphrasis and its implementation through intertextual references in fiction. Despite how relatively ‘researched’ the phenomenon of ekphrasis is, the overwhelming majority of existing works focuses on the transfer of meaning between the verbal and visual mediums. This approach omits the reader’s possible interpretation of ekphrastic descriptions and their stylistic expression in texts. The aim of the research is to carry out a linguistic analysis of ekphrastic intertextual references and their possible impact on the reader’s perception of a fictional text. Material and methods. The study is based on ekphrastic abstracts from the novels by Dina Rubina ‘On the Sunny Side of the Street’ and Margaret Atwood’s ‘Cat’s Eye’. The research methodology uses the following techniques of cognitive poetics: the figure-ground dichotomy, the model of literary resonance, the theory of narrative interrelation. Results and discussion. The cognitive poetic analysis of the ekphrastic representations of characters has shown: • intertextual references link scenes within a narrative; • intertextual references supply additional symbolic and metaphorical meanings to an artwork; • intertextual references imitate the visual organisation of an art object at the syntactic, semantic and textual levels. Conclusion. Using cognitive poetic methods of linguistic analysis, we examined stylistic expression of ekphrasis in a literary text. Taking the role of a figure, the character depicted in the painting acts as a pronounced attractor when influencing the reader’s perception. This perceptual influence is confirmed by the typical semantic, syntactic and stylistic characteristics of attractors presented in the analysed passages. Comparison of the ekphrastic descriptions and the corresponding context revealed the parallelism of the used constructions, which indicates a similar organisation of their figure-background relations. Parallelism can be also marked as specific intertextual references, through which an art object is actualised in the reader’s mind. In addition to the contextual environment, intertextual references contribute to the symbolic realisation of a character in a literary text, complementing their representation with metaphorical and conceptual meanings.
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Vizcaíno-Verdú, Arantxa, Paloma Contreras-Pulido, and María-Dolores Guzmán-Franco. "Collective intelligence semiotics in the Stranger Things series." Comunicación y Sociedad 2021 (June 2, 2021): 1–24. http://dx.doi.org/10.32870/cys.v2021.7825.

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This study analyzes the Netflix’s original series, Stranger Things, as an emerging collective intelligence concept. For this purpose, we conducted a semiotic analysis through three inductive and interpretative stages: using the Transmedia Intertextual System, identifying pre-existing references, and analyzing reactions in the fandom universe. The research found the production as a transmedia intertextual masterpiece that points towards an emphasized canonization of the media-nostalgic content and a sequential performance of the collective cultural memory.
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Sergodeev, Ilya. "Nondefinitivity of Poetic Text Units in View of Intertextuality Theory." Vestnik Volgogradskogo gosudarstvennogo universiteta. Serija 2. Jazykoznanije, no. 4 (December 2020): 145–56. http://dx.doi.org/10.15688/jvolsu2.2020.4.13.

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The article considers the problem of finding unmarked intertextual units in fiction. The typology of intertextual relations is represented. These relations are divided into autotextuality, paratextuality, intextuality and archtextuality. Intertextual units are viewed as marked and unmarked ones. The phenomenon of intertextual crosslinking and the exchange of contexts between identical address texts units is discussed. The pattern of nondefinitivity is researched. It is divided into three subpatterns: the context type (explicit / implicit), valance, intertextual potential. A textual unit being in the implicit context has several dictionary and non-dictionary meanings at the same time. A textual unit being in the explicit context has only one dictionary meaning. Valance is discussed from the perspective of the textual aspect. The terms of polysemy and multisense are defined and differentiated. Intertextual potential bases on the examples of well-known and unknown texts, which are linked together by intertextual units. On the other hand, intertextual potential bases on the examples of references to a referent with the use of personal pronouns and common nouns, which do not nominate a person or an object. An unmarked unit of intertextuality has the following features: the implicit type of context, polysemy, intertextual potential equals to 1. The works of R. Frost, R. Lowell, L. Hughes, W. Blake, E. E. Cummings provide practical material, which illustrates the pattern of nondefinitivity.
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Dissertations / Theses on the topic "Intertextual references"

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Vaghi, Katja. "The Baroque in Jiří Kylián : intertextual and intermedial references in Kylián’s works." Thesis, University of Roehampton, 2015. https://pure.roehampton.ac.uk/portal/en/studentthesis/the-baroque-in-jirí-kylián(c53edc7a-b9f8-4a7b-9f50-cc8710504cf1).html.

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Some of Jiří Kylián’s later works reveal a distinct detectable baroque influence. They also manifest a baroque quality that resists precise explanation. This partly derives from extensive references to the baroque style and period. However, not all references are the same, and some are more easily recognisable than others. Costumes, music and props openly reference the Baroque, whereas less obvious allusions can be found in lighting design or in the way a performance ‘addresses’ the audience. This thesis thus sets out to offer a terminology to describe these phenomena and provide a framework for analysing Kylián’s reworking of baroque sources. The analysis first addresses what is understood by ‘baroque’, then moves to describe various referencing practices, before applying the newly found framework to three of Kylián’s works that take the Baroque as a source of inspiration. Central to my discussion of the Baroque and its contemporary reappearance is the work of cultural theorists and art critics Omar Calabrese and Mieke Bal. Particularly important to my argument is Bal’s emphasis on the tendency in baroque art to involve the viewer’s physical presence in the experience of art. My discussion of referencing is, on the other hand, centred on ideas developed by the literary theorists Gérard Genette, Andreas Böhn, Irina Rajewski and Werner Wolf. Genette’s intertextual model is expanded to include a more precise understanding of the nature of quotation as developed by Böhn. The plurimedial nature of dance, or the co-presence in dance of more than one medium, is addressed by introducing Rajewski’s and Wolf’s notion of Intermediality. As well as analysing how referencing functions in dance and how it participates in meaning-making, this thesis also highlights the evolution of Kylián’s referencing practice over time and explains the function of the Baroque in Kylián’s oeuvre.
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Moeketsi, V. M. "Imitation is a consciously intertextual practice. A case of Thomas Mofolo's Moeti wa Botjhabela." Interim : Interdisciplinary Journal, Vol 13, Issue 4: Central University of Technology Free State Bloemfontein, 2013. http://hdl.handle.net/11462/318.

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The paper seeks to demonstrate that Mofolo borrowed from previous texts written before Moeti wa Botjhabela so as to provide layers of meaning in his novel. Mofolo was a reader of different texts before he became the creator of Moeti wa Botjhabela, and therefore, his work of art is unavoidably shot through with references, quotations, and influences of every kind of text he read, and this finds expression in the manner in which history, folktales and Bible have been distributed consistently in his work of art.
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Bax, Stephen. "Researching intertextual reference and intertextual reading." Thesis, University of Kent, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.409160.

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Thomas, Abbie. "Light & dark and colour in the poetry of Gerard Manley Hopkins : with intertextual reference to Vincent Van Gogh /." Title page, contents and introduction only, 1998. http://web4.library.adelaide.edu.au/theses/09AR/09art454.pdf.

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Haddad, Salma. "Genre as linguistic coding of social occasions and the translation of their textual/intertextual potential with reference to English and Arabic." Thesis, Heriot-Watt University, 1995. http://hdl.handle.net/10399/1303.

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Gerzic, Marina. "The intersection of Shakespeare and popular culture : an intertextual examination of some millennial Shakespearean film adaptations (1999-2001), with special reference to music." University of Western Australia. School of Social and Cultural Studies, 2009. http://theses.library.uwa.edu.au/adt-WU2009.0146.

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This dissertation analyses millennial film adaptations of five of Shakespeare's plays with a specific focus on a selection of different kinds of film. These are William Shakespeare's A Midsummer Night's Dream (1999: Dir. Michael Hoffman), 10 Things I Hate About You (1999: Dir. Gil Junger), Hamlet (2000: Dir. Michael Almereyda), Titus (1999: Dir. Julie Taymor), and Scotland, PA (2001: Dir. Billy Morrissette). The films covered include both box office and independent, textually close to Shakespeare's words or not, all totally different from each other. This thesis contextualises these film adaptations within the realm of film studies, music theory, Shakespeare performance theory, critical theory and popular culture. Rather than analysing each Shakespearean film adaptation purely on an aesthetic level, my dissertation will identify and analyse each director's
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Books on the topic "Intertextual references"

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The influence of French culture on Willa Cather: Intertextual references and resonances. Lewiston, N.Y: Edwin Mellen Press, 2008.

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Durrans, Stéphanie. The influence of French culture on Willa Cather: Intertextual references and resonances. Lewiston, N.Y: Edwin Mellen Press, 2007.

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Geiger, Benno. Poesie scelte. Edited by Diana Battisti and Marco Meli. Florence: Firenze University Press, 2021. http://dx.doi.org/10.36253/978-88-5518-516-5.

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The volume presents a selection of poems originally composed in German by Austrian-Italian author Benno Geiger and translated into Italian for the first time. This publication aims to make Geiger’s poetical work available to a broader audience and place it aside his better known writing on Art History. Geiger’s specific role as a mediator and bridge between two cultures makes his poetical work extremely significant, as well as considering his prolific activity as a literary translator to which he devoted himself throughout his life. The current edition provides bilingual parallel text, preceded by an introductory essay and a biographical profile of the author. The critical apparatus highlights both the intertextual references and the writer’s complex links with the Italian and German poetical traditions.
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Carol Geronès, Lídia. Un bric-à-brac de la Belle Époque. Venice: Fondazione Università Ca’ Foscari, 2020. http://dx.doi.org/10.30687/978-88-6969-434-9.

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Fortuny (1983) by Pere Gimferrer is the only novel (at least to date) that the author has written in Catalan and it represents one of the most unique novels of contemporary Hispanic narrative. The aims of the present study are mainly two: to shed light on one of the most important, but least studied, works by Pere Gimferrer, the greatest representative of Hispanic creativity for the Post-War Generation, and to analyse critical reception of the work and show how the novel has evolved from the time of publication in 1983 until today. This essay consists of three major parts: the study of critical reception, the narratological analysis of the text and the unveiling of the textual, but above all visual, references that make up the novel. The latter allows us to explain two essential elements of the novel: the imaginary Fortuny on the one hand and, on the other, the novel’s intertextual concrete figure of speech, its ekphrasis. The study of this intentionally visual character of the novel not only wanted to highlight the importance of two arts to which Gimferrer has always paid special attention – we refer to cinema and painting – but has also demonstrated the desire of the writer to innovate the Catalan narrative scene, using different literary devices to push the limits of the genre novel.
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Tulloch, John, and Belinda Middleweek. Intimacy. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190244606.003.0002.

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Chapter 1 discusses the film Intimacy as constructed discursively from two entirely different perspectives: a film reviewer’s intertextual references and professional organization of knowledge in constructing for his readers a negative view of the film and the authors’ no less intertextual, no less constructed, interdisciplinary “overlapping” of frames, interpreting Intimacy by way of a “mutual understanding” between and a “galvanizing extension” of disciplinary assumptions. In this analysis the narrative is explored via the relationship of three milieus: the sex scenes of Jay and Claire; the social world of south London beyond Jay’s flat, where this sex takes place; and Jay’s own personal memory space. The tension and balance between language and silence explored between and within these scenes reveal the film’s exploration of modern intimacy at a time when sex for reproduction, marriage, and romantic love are under constant renegotiation.
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Robinson, Laura. The Dance Factor. Edited by Melissa Blanco Borelli. Oxford University Press, 2014. http://dx.doi.org/10.1093/oxfordhb/9780199897827.013.020.

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This chapter analyzes the street dance crew performances of Diversity and Flawless within the 2009 final of the televised talent show competition, Britain’s Got Talent, with the aim of providing the reader with the analytical tools required for discussing male street dance crew performances on the U.K. popular screen. Through an interdisciplinary approach, this chapter examines the importance of the connection between the street dance performances and the remote voting audience, through an influx of dynamic corporeal images and intertextual references to popular culture. Alongside the historical contextualization of these performances, this chapter also considers the use of hip-hop dance vocabulary, the relationship between soundtrack and dance, the construction of a black masculine identity, and the importance of competition and commercialization within the spectacularized context of the television show.
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Dearman, J. Andrew. Narrative Art. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190246488.003.0006.

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This chapter explores the relevance of semantics and the art of verbal and literary expression for interpreting Old Testament narratives. Texts from Genesis 16 and 38, and more extensively 2 Samuel 7, are examined for examples of wordplay, distinctive vocabulary such as that employed by the Deuteronomistic writers, and intertextual references to other books in the Old Testament. The name Ishmael is the subject of a wordplay that indicates God has heard the plea of Hagar his mother. In Genesis 38 the names Er and Perez are briefly examined for their contribution to the plot of an heir for the patriarch Judah. The several uses of the Hebrew words for “house” and “name” in 2 Samuel 7 are discussed in the context of traditions about the rule of King David over Israel.
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Schilling, Erik, ed. Thomas Manns "Betrachtungen eines Unpolitischen" nach 100 Jahren. Klostermann, 2020. http://dx.doi.org/10.5771/9783465116226.

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Thomas Mann's "Betrachtungen eines Unpolitischen" is a text which is rather unpopular with literary scholars for manifold reasons: The zealous war apology is rather incongrous with the author's image as a significant opponent of National Socialism drawn by many researchers; and the intertextual references, which are difficult to reconstruct today, render understanding the text exacting. Then as now, it poses considerable challenges to its readers with regard to its prerequisites as well as its content and formal formations. This accounts for the fact that a differentiated analysis and interpretation of the central contents, form and contexts is still lacking, even 100 years after the publication of the "Betrachtungen". This volume, which goes back to a conference held in September 2018 at the Ludwig-Maximilian-University of Munich, attempts to close this gap in an interdisciplinary cooperation of literary scholars, political philosophers and political scientists.
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Harris, Andrea. Making Ballet 3. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780199342235.003.0007.

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Making Ballet 3 provides a choreographic analysis of the ballet Western Symphony, produced by the New York City Ballet in 1954 with choreography by George Balanchine, music by Hershy Kay, scenery by John Boyt, and costumes by Karinska. It brings to light the multitude of intertextual allusions that occur throughout the ballet, playfully intermingling references of “America” with an entire lineage of nineteenth-century European classicism. Although Western Symphony has no story line, it crafts a deliberate message: a long, transatlantic genealogy of Western classicism that, in the twentieth century, has come to rest in America. Drawing on archival sources and movement analysis, this interchapter argues that Western Symphony incorporates parody to present a revisionist ballet history in which the high cultural lineages of Europe and America are intimately entwined. Ultimately, this message reinforced the Atlanticist politics of private and state anticommunist groups in the cultural Cold War, the historical setting for its production and performance.
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Heslin, Peter J. Propertius, Greek Myth, and Virgil. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199541577.001.0001.

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This book develops a new interpretation of Propertius’ use of Greek myth and of his relationship to Virgil, working out the implications of a revised relative dating of the two poets’ early works. It begins by examining from an intertextual perspective all of the mythological references in the first book of Propertius. Mythological allegory emerges as the vehicle for a polemic against Virgil over the question of which of them would be the standard-bearer for Alexandrian poetry at Rome. Virgil began the debate with elegy by creating a quasi-mythological figure out of Cornelius Gallus, and Propertius responded in kind: his Milanion, Hylas and several of his own Galluses respond primarily to Virgil’s Gallus. In the Georgics, Virgil’s Aristaeus and Orpheus are, in part, a response to Propertius; Propertius then responds in his second book via his own conception of Orpheus and Adonis. The polemic then took a different direction, in the light of Virgil’s announcement of his intention to write an epic for Octavian. Virgilian pastoral was no longer the antithesis of elegy, but its near neighbour. Propertius critiqued Virgil’s turn to epic in mythological terms throughout his second book, while also developing a new line of attack. Beginning in his second book and intensifying in his third, Propertius insinuated that Virgil’s epic in progress would turn out to be a tedious neo-Ennian annalistic epic on the military exploits of Augustus. In his fourth book, Propertius finally acknowledged the published Aeneid as a masterpiece; but by then Virgil’s death had brought an end to the fierce rivalry that had shaped Propertius’ career as a poet.
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Book chapters on the topic "Intertextual references"

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Gruber, Helmut. "Intertextual references in Austrian parliamentary debates." In Follow-ups in Political Discourse, 25–56. Amsterdam: John Benjamins Publishing Company, 2015. http://dx.doi.org/10.1075/dapsac.60.02gru.

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Corley, Jeremy. "Deuterocanonical References to Abraham, Moses, and David." In Intertextual Explorations in Deuterocanonical and Cognate Literature, edited by Jeremy Corley and Geoffrey David Miller, 33–56. Berlin, Boston: De Gruyter, 2019. http://dx.doi.org/10.1515/9783110416930-002.

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Medugno, Marco. "“Experience that Generates Experience”: The Influence of the Comedy in three South African Writings." In Studi e saggi, 131–42. Florence: Firenze University Press, 2021. http://dx.doi.org/10.36253/978-88-5518-458-8.08.

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This article aims to explore the intertextual relationships between Dante’s Divine Comedy and three pieces of creative writing: Chariklia Martalas’ “A Mad Flight into Inferno Once Again”, Thalén Rogers’ “The Loadstone” and Helena van Urk’s “The Storm”. By employing a comparative analysis, I argue that, even though decontextualised, the Comedy still represents a fruitful aesthetic source for representing particularly war-torn and violent contexts such as South Africa during apartheid and colonialism. I explore how the authors, through intertextual references and parodic rewriting, both re-configure the poem and challenge some of the Comedy’s moral assumptions and the idea of (divine) justice. I aim to show how Dantean Hell, far from being an otherworldly realm, is in fact transfigured and adapted to effectively represent (and make sense of) a historical context. In other words, through an intertextual analysis, this analysis tries to understand why and how the Comedy resonates with the South African socio-political (and literary) context.
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Tsentourou, Naya. "‘Let Lovers Sigh Out the Rest’: Witnessing the Breath in the Early Modern Emotional Body." In The Life of Breath in Literature, Culture and Medicine, 175–93. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-74443-4_9.

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AbstractThis essay examines how breath is observed, recorded, and accounted for in cases of love melancholy in early modern literary and medical texts. It draws on the poetry of George Herbert and the works of Robert Burton and Jacques Ferrand on lovesickness to argue that writing on the respiration of the melancholic lover in the Renaissance involves a process of performative displacement as well as entanglement, most visible in the practice of intertextuality. As Tsentourou shows, intertextual references to emotional breathing blur the binary between patient and physician, casting bodies and texts as spaces where the detached witness conspires with the lovesick subject, and, in turn, with the reader.
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Thompson, Paul. "Aspects of identification and position in intertextual reference in PhD theses." In Studies in Corpus Linguistics, 31–50. Amsterdam: John Benjamins Publishing Company, 2005. http://dx.doi.org/10.1075/scl.19.04tho.

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"4 Intertextual References." In Piyyut Commentary in Medieval Ashkenaz. Berlin, New York: Walter de Gruyter, 2008. http://dx.doi.org/10.1515/9783110204094.81.

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Sierra, Sylvia. "“I’m a sweet intertextual”." In Millennials Talking Media, 62–91. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190931117.003.0003.

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This chapter presents qualitative analysis of examples across five everyday conversations where Millennial friends in their late twenties display their understanding, engagement with, and appreciation of intertextual media references through different displays of listening. In addition to an analysis of how participants engage as listeners with media references is an analysis of playback data with participants which provides insights into their listening behavior. The listening displays analyzed in this study are minimal responses, repetition of a media text, laughter and smiling, and participation in a play frame. This chapter shows that through engaging in a play frame based on media references, participants construct a shared group identity around their shared experience and knowledge of media references. Understanding of displays of shared cultural knowledge in intertextual processes is advanced in this chapter; it also shows how engagement with media references can be used to construct shared group identities.
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"Index of References." In Intertextual Explorations in Deuterocanonical and Cognate Literature, edited by Jeremy Corley and Geoffrey David Miller, 347–68. Berlin, Boston: De Gruyter, 2019. http://dx.doi.org/10.1515/9783110416930-015.

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Kukkonen, Karin. "Intertextual Precision Expectations." In Probability Designs, 107–16. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190050955.003.0009.

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In the chapters that follow, the third-order probability design is developed. The third-order probability design revolves around how expectations about second- and first-order predictions are developed through structural patterns yielded by genre (III.1), textual gaps and shadow stories (III.2), and intertextual references to unfamiliar texts (III.3). The final chapter of the section, then, traces the tension between flexibility and constraint in probability designs.
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"Plutarch’s Intertextual References to Tattoos and Brands." In The Dynamics of Intertextuality in Plutarch, 551–65. BRILL, 2020. http://dx.doi.org/10.1163/9789004427860_038.

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Conference papers on the topic "Intertextual references"

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Voznesenskaya, Maria M., Olga V. Fokina, and Elena Ya Shmeleva. "“Intertextual vocabulary of modern Russian”: paradigmatic relations of intertextual units." In Lexicography of the digital age. TSU Press, 2021. http://dx.doi.org/10.17223/978-5-907442-19-1-2021-19.

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This paper deals with the structure and principles for constructing a new dictionary with a tentative title Intertextual Vocabulary of Modern Russian. One of the characteristics of the dictionary is the presence of references reflecting the paradigmatic relations of intertextual units.
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CÎNDEA GÎȚĂ, Iulia Elena. "AN IN-DEPTH STUDY OF CHINESE CULTUREMES – CARRIERS OF THE MOST SUBTLE CULTURAL ALLUSIONS – EXCERPTED FROM CHINESE CONTEMPORARY NOVELS IN ROMANIAN TRANSLATION." In Synergies in Communication. Editura ASE, 2022. http://dx.doi.org/10.24818/sic/2021/04.01.

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Culturemes are the markers of the source culture, which can reach the reader in the target language only through the ability of the translator, who must, in fact, be a great connoisseur of the most hidden cultural details. For the transposition of a foreign culture into a new culture, for a proper communication between them, a loan is needed, retrieval and processing of information so that it is accepted. The motivation behind this study is to provide an overview of how to approach culturemes in the translation of works of contemporary Chinese literature in Romanian, works characterized by great linguistic and extra-linguistic generosity. In order to achieve this goal, we followed the stages of identifying the culturemes from thirty-one Chinese contemporary novels translated in Romanian; followed by creating a corpus based on fourteen categories and five equivalence methods to ensure the cultural equivalence, coherence and homogeneity of Chinese works recreated for the Romanian reader. Finally, we performed an in-depth study of a selection of culturemes from each category, with the aim of showing their distribution in the Romanian translation of Chinese fiction. The study intends to provoke but also to help raise the awareness that translations are not only transpositions (by this we mean moving from one linguistic register to another without operating the text as part of a cultural whole, approaching it externally to all of its sources of influence from the culture in which it has been created) of a work in another language, but they have the primary role of enriching knowledge about one's culture, civilization, literature – i.e. China’s cultural heritage for the present study. Culturally-aware literary translations are the most effective and most stable manner of intercultural exchange, of international prosperity of a culture, of understanding and acknowledging the cultural specifics of one nation. The intertextual references – the culturemes – studied, are part, as will be presented, of all cultural spheres, from those denoting the daily life of the Chinese, the food and basic needs, to those denoting holidays, toponymy, units of measurement, history, but also those that are politically motivated, while also spiritual, subtle, erudite, which only close study, extensive knowledge and diligent work can drive the translator to find and transfer them to the target reader.
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