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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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Сenys, Tomas. "Intertextual analysis of Viktor Pelevin’s collection of novels Pineapple water for the Fair Lady." Literatūra 61, no. 2 (December 15, 2019): 97–109. http://dx.doi.org/10.15388/litera.2019.2.7.
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This article aims to analyze Viktor Pelevin’s collection of short stories Pineapple water for the Fair lady in the frame of intertextual theory. The analytical method used in this article is based on a typology developed by Gerard Genette. Using this typology, an analysis of transtextual connections present in the text was conducted. The analysis of paratextual connections in the texts made it possible to make an assumption that all the novels are connected by a specular structure. A closer inspection of the intertextual connection and references presented in the text established a connection with certain works of Nabokov. These references to various works of Nabokov allow to view Pelevin’s collection of short stories not as thematically disconnected narratives but as one cohesive entity.
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Hiller, Jürgen. "„Skal vi tro, at det er Barnets virkelige Navn?“ — Namen als Ausgangspunkte intertextueller Dialogizität in Karen Blixens „Alkmene“." European Journal of Scandinavian Studies 50, no. 1 (April 28, 2020): 1–21. http://dx.doi.org/10.1515/ejss-2020-0001.
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AbstractKaren Blixen’s works are characterized by a plurality of intertextual references. The article wants to explore in-depth a specific facet, the reference function of names in one of Blixen’s Winter’s Tales, “Alkmene”. Besides the well-known mythological references, evidence shows a pronounced dialogue of Blixen’s text with works of St. St. Blicher, Shakespeare and Goethe. Most previous interest concentrated on mythological and explicitly referenced names whereas e. g. the affinity in the relation between Blixen’s Alkmene and Vilhelm and the corresponding relation between Goethe’s Wilhelm Meister and Mignon has gone unnoticed. The intertexts are not only communicating with Blixen’s “Alkmene”, but constitute a common resonating cavity in which some themes are taken up in almost all of the texts.
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Thielemann, Nadine. "Allusive talk – Playing on indirect intertextual references in Russian conversation." Journal of Pragmatics 155 (January 2020): 123–34. http://dx.doi.org/10.1016/j.pragma.2019.10.012.
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Denisova, Irina V. "The Influence of the Painting Tradition on Derek Jarman’s Films." Journal of Flm Arts and Film Studies 8, no. 3 (September 15, 2016): 84–94. http://dx.doi.org/10.17816/vgik8384-94.
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The article aims at revealing intertextual references to paintings woven into feature films by the British director Derek Jarman (1942-1994). The author explores various manifestations of intertextuality from direct citations to reminiscences, which allow to emphasize the continuity of film-directors work, the connection of its aesthetics, composition, film mood with the original fine art source paintings. The target is to enhance the emotional impact on the viewer. The concept of intertextuality has undergone significant changes since its introduction to the research usage by the poststructuralist French theorist Julia Kristeva. This term has gone beyond the literary discourse and has begun to be used in the analysis of all the semiotic formations to describe the interaction of both verbal and non-verbal texts. In this regard, it is important to analyze and reveal the intertextual references to paintings woven into feature films made by a British director Derek Jarman whose works are insufficiently explored in Russia. Intertextuality is a characteristic feature of Jarmans creative style that seeks to blur the clear distinction between painting and cinema. Analysing the influence of such artists as Michelangelo Merisi da Caravaggio, Piero della Francesca, William Turner, Ford Madox Brown, Thomas Eakins and Francis Bacon on Jarman, the author reveals the interconnection between the directors aesthetics, composition, mood, light and shade frame modeling and the original paintings. Derek Jarman uses a variety of intertextual references from direct citations to reminiscences affecting the visual associative row of the audience and their film perception, emphasizing the continuity of his work. The intertextual references seek to enhance the emotional impact on the viewers, to recreate the mood of the epoch and its atmosphere, to aggravate the tragedy of the situation. The metaphors and allusions greatly expand the spatial and temporal characteristics of Jarmans films. Numerous intertransitions from one semiotic system to another fill his films with inner dialogue and strengthen semantic polyphony of meaning.
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Karpenko-Seccombe, Tatyana. "Intertextuality as cognitive modelling." English Text Construction 9, no. 2 (November 11, 2016): 244–67. http://dx.doi.org/10.1075/etc.9.2.02kar.
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The aim of this paper is to demonstrate a way in which the concept of cognitive modelling can be applied to studies of intertextuality. The paper suggests a fresh way of looking at intertextuality – from the perspective of the cognitive processes involved in decoding intertextual references, namely, analogical mapping across different domains. Our knowledge of cognitive processes is largely based on the study of cognitive processing of texts, but texts with intertextual references have until now been a less studied area of cognitive research. I define three different ways in which texts relate to each other: hard modelling, soft modelling and loose association. From a cognitive perspective, I suggest that mental processing of these texts involves different knowledge structures which I describe using Schank’s (1982, 1986, 1999) theory of dynamic memory.
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Dore, Margherita. "Intertextuality and failed taboo humour in advertising." European Journal of Humour Research 8, no. 3 (October 12, 2020): 99. http://dx.doi.org/10.7592/ejhr2020.8.3.dore.
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Humour is often exploited in advertising to enhance the positive image of a brand or corporate company, as well as to promote products or services. Advertisers seek the involvement of the audience via covert or overt references that, in their opinion, may trigger humour and, hypothetically, result in a positive customer response. However, using intertextual humour in advertising can sometimes be risky because, even though the ideal interlocutor is supposed to be familiar with the humorous reference the author alludes to, the latter can never be certain of whether it will be favourably received. The matter is further complicated if the advert relies on references that play on taboo or transgressive topics, which some may find humorous while others will consider distasteful. After all, humour is a phenomenon that varies according to individual cultures and historical time, as well as in terms of how it is perceived and whether it is appreciated. In this context, this study focuses on the use of intertextual taboo humour in adverts and campaigns that exploit both verbal and non-verbal texts. It particularly explores the reasons for the target clientele’s reaction, which has had a boomerang effect on the brand and company itself. The suggested hypothesis is that the simultaneous exploitation of verbal and non-verbal intertextual references (consciously or unconsciously) activates multiple targets and scripts that cause the intended humour to fail in its scope.
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Jochimczyk, Magdalena. "Dialog tekstów naukowych w perspektywie socjologii." tekst i dyskurs - text und diskurs, no. 13 (2020) (December 30, 2020): 299–310. http://dx.doi.org/10.7311/tid.13.2020.15.
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This article is devoted to sociological reflection on the dialogue of scientific texts. It takes place by referring to some phenomena and theories widely discussed on the ground of sociology, which show the social character of intertextual references. The article provides arguments for the hypo- thesis that intertextual dialogue is a common activity that usually turns into a sequence of social activities. A sociological view of the issue of dialogue between authors of scientific texts leads to the conclusion that in the interaction that is being established there is a process of exchange connected with creating the image of the author in the academic environment. An equally important issue addressed in this publication is the normative regulation of interaction in intertextual dialogue.
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Cerri, Adriano. "When Books Speak of Books: G. Radvilavičiūtė’s Intertextuality." Interlitteraria 25, no. 2 (December 31, 2020): 458–75. http://dx.doi.org/10.12697/il.2020.25.2.16.
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The present article will analyze the intertextual dimension in the work of the Lithuanian essayist G. Radvilavičiūtė, especially focusing on her most successful book, Šiąnakt aš miegosiu prie sienos. In the introduction a brief review of U. Eco’s ideas on intertextuality will be presented, paying special attention to the notions of metafiction, dialogism, double coding, and intertextual irony. Within this theoretical framework, the main intertextual strategies used in Radvilavičiūtė’s book are examined in the core of the study. Particular attention will be paid to dialogism; for this strategy a detailed classification based on the two parameters of target and modality will be proposed. Then a peculiar kind of intertextuality is presented: while the author frequently makes a conscious and obvious use of references to other texts, I will suggest that it could also be possible to find traces of unconscious “intertextual echoes”. To demonstrate this, some similarities with V. Nabokov’s novel Laughter in the Dark are discussed. Such similarities could be due to an unconscious influence of this novel on the author (in this case they would be “echoes”), or to pure coincidence. In both cases, however, this is an interesting instance of hermeneutic cooperation between the author and the reader. Far from diminishing Radvilavičiūtė’s flourishing creativity, these considerations reinforce the idea that any open text calls for the addressee’s cooperation. Hence, the reader not only decodes intertextuality, but also actively creates a net of references that sometimes go beyond the author’s (conscious) intentions.
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Cerri, Adriano. "When Books Speak of Books: G. Radvilavičiūtė’s Intertextuality." Interlitteraria 25, no. 2 (December 31, 2020): 458–75. http://dx.doi.org/10.12697/il.2020.25.2.16.
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The present article will analyze the intertextual dimension in the work of the Lithuanian essayist G. Radvilavičiūtė, especially focusing on her most successful book, Šiąnakt aš miegosiu prie sienos. In the introduction a brief review of U. Eco’s ideas on intertextuality will be presented, paying special attention to the notions of metafiction, dialogism, double coding, and intertextual irony. Within this theoretical framework, the main intertextual strategies used in Radvilavičiūtė’s book are examined in the core of the study. Particular attention will be paid to dialogism; for this strategy a detailed classification based on the two parameters of target and modality will be proposed. Then a peculiar kind of intertextuality is presented: while the author frequently makes a conscious and obvious use of references to other texts, I will suggest that it could also be possible to find traces of unconscious “intertextual echoes”. To demonstrate this, some similarities with V. Nabokov’s novel Laughter in the Dark are discussed. Such similarities could be due to an unconscious influence of this novel on the author (in this case they would be “echoes”), or to pure coincidence. In both cases, however, this is an interesting instance of hermeneutic cooperation between the author and the reader. Far from diminishing Radvilavičiūtė’s flourishing creativity, these considerations reinforce the idea that any open text calls for the addressee’s cooperation. Hence, the reader not only decodes intertextuality, but also actively creates a net of references that sometimes go beyond the author’s (conscious) intentions.
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Kudyba, Wojciech. "Norwid w poezji współczesnej. Formy obecności." Studia Norwidiana 39 Specjalny (2021): 189–215. http://dx.doi.org/10.18290/sn2139s.7.
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The article attempts to establish the character of references to Norwid in texts by poets representative of Polish modernity, accounting for functions of intertextual allusions, initially in the area of collective consciousness. As it turns out, during the interwar period and the Second World War works by the Romantic master were referenced at all stages of developing a distinct literary identity. Poets would not just read Norwid’s texts, but in fact regard themselves in the mirror of his works. However, after 1956 Norwid’s presence in literary life was rooted in the needs of literary scholars rather than in actual intertextual references. This tendency also manifests in studies of works by individual authors. It does happen – especially when we speak of implicit traces of Norwid in contemporary poetry – that the plane of relations between authors is not addressed by interpreters. Sometimes, dialogue as a research category disappears from their view, while the body of Norwid’s works is treated merely as a context, becoming a kind of mirror meant to display more fully a certain theme or characteristic of somebody’s writing. However, the most important forms of Norwid’s functioning in contemporary times are ones that facilitate meetings(successfulor not), as demonstrated by the fascination with Norwid’s poetry recognizable in texts by authors such as Mieczysław Jastrun, Julian Przyboś and Tadeusz Różewicz.
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Petkova, Ekaterina. "The Artistic Universe and its Intangible "Bridges" – Meaningful Links and Intertextual Links Between Literary Works Studied in Sixth Grade." Педагогически форум 7, no. 4 (2019): 50–58. http://dx.doi.org/10.15547/pf.2019.029.
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The presented work argues for the role of the intertextual approach for the implementation of a full-fledged literature education discourse in sixth grade. The enrichement of the new literature curriculum implemented in 2017-2018 and the competencies (socio-cultural, literary and communicative)presented in it together with the expected results, represents the objective prerequisites for detecting / searching for intertextuality, respectively, for highlighting the meaningful potential of intertextuality. The exemplary intertextual references are a vivid illustration of the "bridges" built (According to N. Georgiev) between the literary and classical texts studied in the sixth grade.
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Gereikhanova, Kamilla Fezameddinovna, and Oksana Vasilevna Afanaseva. "To the problem of intertextuality of “Fandorin corpus” by B. Akunin “Planet Water” and “Froth on the Daydream” by Boris Vian." Litera, no. 5 (May 2021): 25–32. http://dx.doi.org/10.25136/2409-8698.2021.5.35541.
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This article is dedicated to the questions of intertextual dialogue in modern Russian literature on the example of allusions to the novel “Froth on the Daydream” by Boris Vian in the novel “Planet Water” by B. Akunin. The object of this research is the game with audience used by B. Akunin, which allows broadening the context of perception of the novel through intertextual links. The subject of this research is the forms and ways of manifestation of intertextual dialogue of the two works – “Planet Water” and “Froth on the Daydream”, as well as their interaction through the literary works of antiquity and Japanese legends. The authors examine the references to B. Vian’s novel, describing their role in text of the narrative. The article employs comparative, contextual,l and hermeneutical analysis. The interaction of the corpus of texts about Fandorin with the works of Russian, English and Japanese literature is subject to detailed analysis. The texts of B. Akunin about Erast Fandorin abound with various references to the Russian and foreign literary works. The scientific novelty is define by the fact that this article is first to draw parallels with the French literature. The article determines and substabtiates intertextual links of “Planet Water” with “Froth on the Daydream”, which manifest through the key images and onomastic system of the novel. These links should attributed to hidden, encrypted intertext, cryptotext; in order to grasp such text, the reader must be familiar with the primary source. The presence of intertextual dialogue broadens the context of perception of the detective story and associate it with the genre of dystopia and parody.
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Rizaq, Ahmad Wildan, and Eka Nurcahyani. "Divine Parody: Ridiculing America’s Spiritual Crisis in Neil Gaiman’s American Gods." Journal of Language and Literature 22, no. 1 (March 23, 2022): 179–91. http://dx.doi.org/10.24071/joll.v22i1.3956.
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One of the reasons for modern man's mental disorders is a spiritual crisis. In American Gods, Neil Gaiman ridicules this condition by reviving religious, folklore, and mythological entities into new contexts. These entities, however, are simplified as merely intertextual references by most studies. In fact, the new contexts are pragmatically intended to parody American modernity in leading modern man to a spiritual crisis. This research, thus, aims to be a descriptive-analytical study that not only interprets such references through intertextual analysis but also uses pragmatic analysis to examine how the novel parodically portrays modern man's spiritual journey. Deploying Linda Hutcheon's Interpretation of Parody, the Intertextual analysis results that these mythological characters are resituated to represent marginal communities, like ex-convicts, fugitives, drifters, gangsters, immigrants, homeless, laborers, prostitutes, and relocators. While applying Jung's interpretation of the relationship between mythological archetypes and psychological traits, the pragmatic analysis suggests that the hero archetype has been reimagined to caricature modern man's spiritual journey in reconciling his conscious desire with unconscious competencies that resulting disorders in his mental. The factors that influence the hero's mental stability are manifested through the trickster characters in deceiving the hero's consciousness with secular realities, while the sage characters reinforce the hero's unconsciousness through some spiritual journeys.
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Dymel-Trzebiatowska, Hanna. "„Nie można stać się Mamą Muminka tylko dlatego, że się wyniosło stół na dwór”. Biograficzno-intertekstualna interpretacja postaci Mamy Muminka w książkach Tove Jansson." Studia Scandinavica, no. 1 (21) (December 17, 2017): 11–23. http://dx.doi.org/10.26881/ss.2017.21.01.
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The aim of the article is to explore the phenomenon of Moominmamma via biographical and intertextual reading of the Moomin books by Tove Jansson. Moominmamma is a sophisticated figure, multileveled and dynamic within the series. Furthermore, she seems to be the most deliberate character already from the first volume. She embodies not only tolerance and joy inspired by Jansson’s mother, Signe Hammarsten-Jansson, but her characterization also includes deeper intertextual references. Experienced readers can, for example, spot elements of the élan vital concept by Henri Bergson, Socratic maieutics, or features of the apostle Paul’s Hymn of Love.
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Ternopol, Tatiana. "The Intertextual Use of Greek Mythology in Agatha Christie’s Detective Fiction." English Studies at NBU 6, no. 2 (December 21, 2020): 321–31. http://dx.doi.org/10.33919/esnbu.20.2.8.
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This study investigates the intertextual use of Greek mythology in Agatha Christie’s short stories Philomel Cottage, The Face of Helen, and The Oracle at Delphi, a short story collection The Labours of Hercules, and a novel, Nemesis. The results of this research based on the hermeneutical and comparative methods reveal that A. Christie’s intertextual formula developed over time. In her early works, allusions were based on characters' appearances and functions as well as on the use of motifs and themes from Greek myths. Later on, she turned to using allusory character names; this would mislead her readers who thought they already knew the formula of her stories. Although not a postmodern writer, A. Christie enjoyed playing games of allusion with her readers. She wanted them not only to solve a case but also to discover and interpret the intertextual references.
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Oryaşın, Melda. "Children’s Meeting with Classics in the “Eternity Library”: An Example of Intertextual Reading." International Journal of Education and Literacy Studies 9, no. 3 (August 1, 2021): 43. http://dx.doi.org/10.7575/aiac.ijels.v.9n.3p.43.
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In this study, children’s meeting with the classics through Mavisel Yener’s work named “Eternity Library” will be exemplified by discussing intertextual relations. The study is qualitative and descriptive. By using intensive sampling, which is one of the purposeful sampling types, the aforementioned children’s book was chosen because it refers to the classics in a diverse, rich and intense manner in the context of intertextuality. The data were collected through document analysis and analyzed with descriptive analysis. In order to ensure its validity and reliability, the features of the determined classification were clearly drawn, the appropriateness of the classifications and quotations was paid attention to, the determined quotations were analyzed and revised at different times, and the final form was given. In the analyzed book, inter-author, inter-work, inter-genre, explicit and implicit references were found in the context of intertextuality, and it was determined that these references were mostly structured through the classics. It was concluded that the work examined in the study directed children to the classics with its rich intertextual references. It can be said that the work examined is a good example in terms of both breaking the negative view of the classics and effectively adding these works to the reading process of children.
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Pawłowska-Jądrzyk, Brygida. "Murky Images. The Poetics of Intertextual Dissonance in the Apocryphal Films of Andrei Zviagyntsev." Załącznik Kulturoznawczy, no. 2 (2015): 240–55. http://dx.doi.org/10.21697/zk.2015.2.13.
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The first two films of Andrei Zvyagintsev, The Return and The Banishment, deserve to be called modern apocrypha, as they methodically and comprehensively utilise elements of Christian symbolism and are part of the non- -canonical dialogue with religious messages. The films are characterised by a multiplicity of thematic plans that are outlined mainly through a variety of intertextual references. Among these relationships, a particular place is occupied by biblical and evangelical references, which are mostly mediated by artistic intertexts (especially paintings). The Russian director entangles the viewer in a subtle play of meanings: he evokes canonical scenes and stories, but distorts symbolic references, multiplying and confusing further interpretive clues. In addition to (completely inconsistent) references to the works of others, intertextual tensions are shown in his work on at least two levels: between different elements or levels of a given film (the function of the photograph motif next to the rest of the film text) and between the various films of Zvyagintsev himself (casting the same actor in both leading roles). The talented successor to Tarkovsky follows the mystery of human fate, eager to capture the metaphysical community of critical experiences. This mystery in the work of Zvyagintsev emerges in a quite obvious way from the eternal truths established in archetypes, in biblical and evangelical wisdom. It is much easier to see it in the fusion of ‛murky imagesʼ than it is to understand.
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Badarneh, Muhammad A. "‘Like a donkey carrying books’." Journal of Language Aggression and Conflict 8, no. 1 (July 4, 2019): 1–28. http://dx.doi.org/10.1075/jlac.00027.bad.
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Abstract This study aims to show how intertextuality is exploited as an impoliteness resource in online reader comments on the website of a London-based pan-Arab Arabic-language daily newspaper. Analysis of 140 reader responses containing impolite references shows that readers called upon and appropriated the language and imagery of impolite and culturally salient prior texts from four sources to perform impoliteness: traditional scriptures, historical texts, poetic texts, and popular proverbs. The use and reception of these impolite intertextualities rely on familiarity with the intertextual source in question. The creative recycling of privileged authoritative texts, use of metaphorical language, invoking of gender identity, and reproducing of particular ideologies played a pivotal role in performing this intertextual impoliteness. The perception of such intertextual impoliteness is crucially influenced by culture as a “general text” (Kristeva 1980) that adds to the complexity of impoliteness when analyzed within a culture-specific context.
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Kabata, Maria. "Gry językowe w komunikacji publicznej (na przykładzie tygodników społeczno-politycznych) ." Poradnik Językowy, no. 2/2021(781) (February 27, 2021): 30–42. http://dx.doi.org/10.33896/porj.2021.2.3.
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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
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Tsakona, Villy. "Scrutinising intertextuality in humour: moving beyond cultural literacy and towards critical literacy." European Journal of Humour Research 8, no. 3 (October 12, 2020): 40. http://dx.doi.org/10.7592/ejhr2020.8.3.tsakona2.
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Humourists often resort to previous texts to create their jokes, thus establishing intertextual links between them. Consequently, the processing of such jokes presupposes specific cultural literacy skills which enable speakers to recognise the allusions and interpret them in the new humorous contexts. It has, however, been suggested that speakers’ emphasis on cultural literacy skills for processing allusions and humour may discourage or even impede them from adopting a critical perspective on humorous texts and the allusions included therein. The present study explores this interplay among intertextuality, cultural literacy, critical literacy, and humour in order to underscore the need for critical approaches to humorous texts and intertextuality. It critically analyses political jokes to demonstrate how the intertextual references contributing to their humorous effect create three sets of opposing groups: (a) those who create/tell the jokes vs. those who are targeted by them; (b) the ‘culturally literate’ who employ and understand the intertextual references vs. the ‘culturally illiterate’ who cannot and/or do not do that; and (c) those who agree vs. those who disagree with the ideological presuppositions of the humorous allusions and texts at hand. Based on incongruity and superiority theories of humour, the proposed analysis intends to argue, and pave the way, for more critical perspectives on humorous genres, whether outside or inside educational settings. Such perspectives could sensitise speakers to the fact that humour and intertextuality divide them into opposing groups such as the above-mentioned ones.
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Oljander, Luiza, Robert Szczęsny, and Halyna Dubyk. "Some remarks on the Literary Works of Vasily Słapczuk." Tekstualia 2, no. 33 (September 2, 2013): 163–70. http://dx.doi.org/10.5604/01.3001.0013.6591.
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The article presents the biography and literary achievement of the poet Vasily Słapczuk from Volyn, focusing on the contexts for and intertextual references in his poems. Słapczuk, one of the most interesting contemporary Ukrainian authors, combines the regional concerns, without sentimental undertones, with universal experiences, such as the stigma of the war in Afghanistan.
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Boiko, Olha. "REFERENCES AS A MEANS OF CREATING AN INTEGRATED CYCLE (ON THE MATERIAL OF NICKY CALLEN'S STORIES)." Odessa National University Herald. Series: Philology 25, no. 2(22) (December 16, 2020): 16–28. http://dx.doi.org/10.18524/2307-8332.2020.2(22).235156.
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The article analyzes the function of “reference” - intertextual references and their role in creating a holistic cycle of fantasy stories and presents the diverse views of the scientific community on the terminological affiliation of references. It is hypothesized that references as a kind of intertextual elements perform the function of vocations between the works of one author, in particular, the article shows the classification of kinds of references in the stories of Nicki Callen. It is shown that references are elements of internal intertextuality, but they are not simple references to another text, but increase the share of "reality" of a work with repeated onyms to denote "through" characters, locations, artifacts that intertwine with each other. and resonate.
It is argued that the use of references contributes to the creation of multiple worlds that are part of a single Multiverse, depicted by the author. It is shown that certified references make it possible to create a communicative situation in which fiction is combined with the existing reality of the reader, which brings a possible, parallel world to "ours". They are recognizable and saturated with the energy of intertextuality, a kind of information hubs - distributors of information, by analogy with computer technology. Identity is determined by onyms: Nicki Callen's poetonyms, combined with real for the reader anthroponyms, horonyms, astonyms, etc., as well as with precedent phenomena - artionyms (names of works of art) and anthroponyms - precedent names. The change in the level of "reality" determines the transition of onyms from one category to another: an anthroponym becomes a poetonym or a mythonym, a choronym from a fictional, a fairy-tale becomes real (eg, Menillen).
Further research into fantasy works, in particular by Nicki Cullen, with a distinction between "parallel worlds" and "multiple worlds", is promising. To the parallel we belong exactly those that fit the heretical concept: one plot with many points of branching options, to multiple - different worlds.
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Kroó, Katalin. "The cultural mediational dynamics of literary intertexts: An approach to the problem of generative and transformational dynamics." Sign Systems Studies 40, no. 3/4 (December 1, 2012): 385–404. http://dx.doi.org/10.12697/sss.2012.3-4.07.
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The paper raises the theoretical question of the cultural mediational nature of literary intertexts from the point of view of generic and transformational dynamics. The intertextual complex as mediational operator is examined at two levels – (1) in the context of cultural diachrony by observing how the literary work establishes its place in the history of literature closely connected to the metapoiesis of the text; (2) at various kinds of intratextual interlevel movements regulating the evolution of a whole intertextual system within the work. Differentiating the ontological, generative and transformational conceptualization of intertextual poetics, an attempt is made to define the basic textual modes of the pretext, the intext and the intertext by describing their functionality in the building of an intersemiotic literary system. The relevant functions are grasped by shedding light upon the types of the sign of which the given signifying structures consist (here a terminological clarification and re-evaluation are added) and their textual semantics in terms of referential and relational quality (cf. the different versions of referential and relational semantics). In the first place, however, the paper aims at outlining the structure and content of the generic-transformational semiotic processes in which the dynamic aspects of intertextual semiosis are revealed. Within this framework, the processuality of the development of the intertextual signifying structure is elucidated, shown as a chain of reciprocal sign activities resulting in constantly evolving semantic shifts within the intra- and intertextual semiosis processes, all relying on mediational operations. Text examples are taken from and references made to works by A. S. Pushkin, I. S. Turgenev, F. M. Dostoevsky and J. M. Coetzee.
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Maver, Igor. "An Australian Poet in Italy: A.D. Hope’s Byronic View of Latter-day Italy." Acta Neophilologica 50, no. 1-2 (November 13, 2017): 57–68. http://dx.doi.org/10.4312/an.50.1-2.57-68.
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The article examines the classicism of the poet A.D. Hope, especially in relation to his fascination with the work of Lord Byron, notably Childe Harold’s Pilgrimage and its sections set in Italy in Rome. Hope’s insistence on the European source of Australian literature in the classical antiquity found expression in several of his poems in direct intertextual references to Byron’s work.
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Kaźmierczak, Marta. "Intertextuality as Translation Problem: Explicitness, Recognisability and the Case of “Literatures of Smaller Nations”." Russian Journal of Linguistics 23, no. 2 (December 15, 2019): 362–82. http://dx.doi.org/10.22363/2312-9182-2019-23-2-362-382.
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The paper focuses on the issue of translation of intertextual markers in literature, with a special emphasis on Polish poetry in English renditions. The material and perspective are chosen with a view to exploring source-culture references in the literatures less known internationally, which, it is argued, is a sphere of particular cultural resistance to translation. The aim is to survey the importance of the level of explicitness of intertextual links for the task of a translator, but also to investigate recognisability - the other crucial factor - as well the interrelation of the two. First some assumptions about the conditions conducive to a successful rendering of intertextuality are formulated and tested. Then, based on several poetry excerpts, it is shown how, on the one hand, the level of explicitness influences the translators’ choices and, on the other, how explicitating or implicitating procedures in translation influence the interpretative potential of the texts. Some instances of overcoming the resistance thanks to creative efforts are indicated. One of the author’s tenets is that even a not readily decipherable marker can serve as a signal of intertextual relations.
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van de Schoor, Rob. "De reisbrieven van R.C. Bakhuizen van den Brink, geschreven gedurende zijn ‘ballingschap’, 1844-1851." Nederlandse Letterkunde 24, no. 3 (November 1, 2019): 323–54. http://dx.doi.org/10.5117/nedlet2019.3.002.vand.
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Abstract R.C. Bakhuizen van den Brink’s travel letters, written during his ‘exile’, 1844-1851In the years 1844-1851, during his journey along libraries and archives in Germany and Austria, the young scholar and later writer and archivist Bakhuizen van den Brink (1810-1865) wrote extensive love letters to Julie Simon, who he had left behind in Liège. Expressing the emotions aroused by his exile from the Netherlands and the separation from the young woman whose heart he desired to win, Bakhuizen resorted to themes that are recurrent in other literary genres such as the epic and the Bildungsroman. Understanding the letters as works of art, this article sets out to trace and analyze these intertextual references between the letters and the genres of the epic and the Bildungsroman. References to the latter come to light when comparing the love letters to the letters Bakhuizen van den Brink wrote to his learned Dutch friends. By disclosing this intertextual network and by relating the themes from the epic and Bildungsroman to the repertoire of the young, 19th-century Dutch scholar, this article holds an attempt to deconstruct these 19th-century love letters.
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GAVIN, Polina I., and Olga B. PONOMAREVA. "THE LINGUO-COGNITIVE ASPECT OF EKPHRASTIC REFERENCES IN A LITERARY TEXT (BASED ON THE WORKS BY D. RUBINA AND M. ATWOOD)." Tyumen State University Herald. Humanities Research. Humanitates 7, no. 1 (2021): 62–79. http://dx.doi.org/10.21684/2411-197x-2021-7-1-62-79.
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The following article explores ekphrasis as a literary device in the context of the Russian and English language literary texts. The phenomenon of ekphrasis is regarded to be a relatively researched area in the literary criticism. However, the majority of the existing research focuses on the visual representations in the verbal medium, thereby neglecting the aspect of the reader’s possible interpretation of an ekphrastic description and its stylistic expression in a literary text. Thus, the aim of this article is to identify the specific language patterns constructing ekphrastic references in the Russian and English language literary texts by conducting a comparative linguo-cognitive analysis of ekphrastic intertextual references in Dina Rubina’s ‘On the Sunny Side of the Street’ (2006) and Margaret Atwood’s ‘Cat’s Eye’ (1988). The research is based on the comparative linguo-cognitive analysis combining the following cognitive poetic techniques: the ‘figure — ground’ dichotomy, the model of literary resonance, and the narrative interrelation theory. The analysis of the figure-ground relations in ekphrastic descriptions has shown that the main character takes the figure position and becomes a pronounced attractor, thereby exerting an affective influence on the reader’s perception. The application of the literary resonance model confirms this claim by identifying typical semantic, syntactic and stylistic features (attractors) of the character in the analysed ekphrastic passages. The comparison of an ekphrastic description to a passage which it is based on has revealed the characteristic parallelism of their syntactic and semantic patterns. In part, parallel constructions contain specific intertextual references that create links to an art object, thus actualising the representation of a picture in the reader’s perception. A comparative linguo-cognitive analysis of ekphrastic references in Russian and English literary texts has shown the possible intratextuality of ekphrastic references, which establish the relationships between plots within the narrative. Additionally, in both literary texts, ekphrastic references imitate the visual construction of an object of art at the semantic, syntactic and textual levels and, as a result, accentuate the metaphorical realisation of the presented artefact.
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Kihney, Liubov. "Onomastic code in Mandelstam’s poetry." Literatūra 61, no. 2 (December 15, 2019): 49–69. http://dx.doi.org/10.15388/litera.2019.2.4.
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The article explores the principles of anagraming and intertextual cryptography in the work of Osip Mandelstam related to his own name and surname. It is proved that onomastic ciphers dissolved in poetic fabric (embodied in the images of Hagia Sophia, Joseph, the staff, axis, wasp, Hosian, etc.) add up to the author’s myth about the World Tree / World Axis, which, through a system of complex intertextual references, draws into themselves a number of mythological paradigms of world culture. At the same time, the uniqueness of the myth created by Mandelstam lies in the fact that within the author’s system of onomastic correspondences, all images are likened to each other, and their semantic fields become interpenetrable and mobile, which is explained by their ascent to the single sound-semantic code of the poet’s name and surname.
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Kolokoltseva, T. N. "The theme of creativity in the lyrics of A. A. Voznesensky (on the poem "Candle sculptor" ("Skul’ptor svechei"))." Russian language at school 82, no. 2 (March 19, 2021): 43–48. http://dx.doi.org/10.30515/0131-6141-2021-82-2-43-48.
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The author carries out a linguopoetic analysis of A. A. Voznesensky’s poem "Candle Sculptor" ("Skul’ptor Svechei") with a particular focus on its lexical composition and textual associative meaning fields, as well as symbolic, methaphoric and intertextual connections. The poem is devoted to the theme of creativity, which appears in the work as spiritual burning requiring the highest effort and complete dedication from a person. The vocabulary associated with the theme of creativity constructs associative semantic fields, thus determining the basic metaphors and symbols of the text. The poem contains clearly expressed intertextual connections: references to the ancient legend about the sculptor Pygmalion, allusions to the poetic works of V. V. Mayakovsky and B. L. Pasternak, as well as to the text of the Orthodox prayer "Our Father" ("Otche Nash").
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Miller, Dorota. "Make leave, not war. Intertextual references in the British press coverage of Brexit." Topics in Linguistics 22, no. 2 (December 1, 2021): 1–14. http://dx.doi.org/10.2478/topling-2021-0007.
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Abstract In the so-called Brexit referendum which took place on 23 June 2016, a slim majority of British citizens voted in favour of the United Kingdom leaving the EU. Following this decision, the United Kingdom officially withdrew from the European Union on 31 January 2020. On both occasions, British newspapers responded with a series of articles and front pages where they elaborated on various arguments for and against Brexit and declared sides in the Brexit campaign. The following study, which focuses on the UK’s withdrawal from the EU, is based on Brexit-related front pages and articles from print and online editions of British newspapers published in both June 2016 and late January/early February 2020. The analysed periodicals represent diverging viewpoints: some argued against Brexit, whereas others backed the Leave campaign. The main points of interest are the intertextual techniques implied in the analysed media texts, ranging from direct quotation to (visual) allusion. They are viewed and discussed as means of (1) revealing the stance of the analysed newspapers; (2) extending the meaning of a given text; (3) attracting attention; and, last but not least, (4) “infotainment”, i.e. involving and entertaining the readership. The conducted analysis proves visual allusions based on British and European national symbols as well as structural allusions to films, songs and works of literature, proverbs and fixed phrases to be a widely applied journalistic strategy in the British media coverage of Brexit. Carefully targeted by producers of media and appropriately decoded by the readership not only do they fulfil a meaning-making and evaluative function but first and foremost provide entertainment, enhance the attractiveness and thus maintain and/or increase the circulation of the newspaper in question.
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Kulkov, Aleksandr N. "Intertextuality in T. Pratchett’s Novel Maskerade." Izvestia of the Ural federal university. Series 2. Humanities and Arts 23, no. 3 (2021): 186–98. http://dx.doi.org/10.15826/izv2.2021.23.3.053.
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The category of intertextuality and playing with the reader have become an integral part of mass literature in the era of postmodernism. The aim of this article is to analyse the intertextual inclusions in Maskerade (1995), a novel by Terry Pratchett, a British writer who achieved success in comic fantasy and is well-known for his book series Discworld and the use of different cultural references which play a crucial role in the construction of the storyline. The research refers to the original text of Maskerade, the primary precedent texts, i.e. The Phantom of the Opera by Gaston Leroux and the musical of the same name by Andrew Lloyd Webber, as well as several musical works of the last century. The distinctive features of the novel include a predominance of musical references over literary ones, which can be explained by the primary plot of the book developing on the stage of the Ankh-Morpork Opera House. In the very paratitle of the novel, the writer begins an intertextual game with the reader, hinting at the main narrative line, the duality and masquerade of what happens. All the plot-forming intertextual connections analysed in this article have no attribution and are expressed in the form of marked quotations, quasi-quotations, and allusions. However, taking into consideration “the white knowledge” and the readers’ horizon of expectations, Terry Pratchett reconsiders many images of the characters and seemingly well-known plot twists of The Phantom of the Opera. Furthermore, showing the backstage of the theatrical world with its prejudices and difficulties, the author thereby connects the real world with the secondary fictional world which turn out to be hardly distinguishable from each other.
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Andersen, Bjørn Inge Berger, Anja Heldal, Henry Andreas Øien Johnsen, Atle Tord Nordøy, and Birgit Velsand. "Å snakke med de døde. En studie i Ingvar Ambjørnsens novelle Skallene." Nordlit 10, no. 2 (June 1, 2006): 1. http://dx.doi.org/10.7557/13.1795.
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Ingvar Ambjørnsen’s short stories are often described as dark, depicting a meaningless universe. Our analysis of his short story “Skallene” from the collection Sorte Mor (1994) shows that this description is not necessarily pertinent. We argue that the story’s meaning relies upon hidden intertextual references, eastern philosophy and complex life worlds. We conclude that the immediate impression of meaninglessness is in fact contradicted by the deeper structures of the text itself.
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Badwy, Sarah, and Yra van Dijk. "Het gruwelijke gezicht van de geschiedenis." Tijdschrift voor Nederlandse Taal- en Letterkunde 136, no. 2 (January 1, 2020): 127–44. http://dx.doi.org/10.5117/tntl2020.2.003.badw.
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Abstract The memory of colonialism and slavery is finally becoming more widespread in the Netherlands. However, the field of literary studies still falls behind compared to the central place of the Dutch-Caribbean slavery past in recent societal debates. One of the reasons could be that the representation of trans-Atlantic slavery in literature is often oblique and allegorical. This article proposes a reading of such allegories in The Sign of Jonah (Van Leeuwen 1995) by the Dutch-Antillean writer Boeli van Leeuwen. The novel’s intertextual references to both the Biblical story of Jonah and numerous other intertextual references, connect European, South-American and religious texts with the violent colonial history of the Caribbean. Using European (Walter Benjamin) and Caribbean (Eduard Glissant, Antonio Benítez-Rojo) theory, we argue that it is precisely this hybrid and postmodern practice of meaning-making that shapes the depiction of slavery and colonial memory in Van Leeuwen’s novels. Binary oppositions between Europe and South-America, masters and slaves, humans and nature, are deconstructed and readers are encouraged to understand man as fundamentally entangled with his other, be it animal, botanical and mineral. The postmodern use of the allegory turns out to produce cultural memory, and also to announce a future of ‘ecobe-comings’.
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Schlosser, Jan. "‘Falsche’ und ‘historische’ Wirklichkeit. Stephan Hermlins intertextueller Brückenschlag zu Paul Celan." Nordlit 10, no. 2 (June 1, 2006): 53. http://dx.doi.org/10.7557/13.1799.
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The article focuses on East German author Stephan Hermlin, his short story „Corneliusbrücke" (1968) and the intertextual references to Paul Celans poem „Du liegst" (1967). Hermlin is in moderate opposition to the socialist realism: He reflects the conflict between private and collective memory. Skepsis gegenüber dem sozialistischen Realismus, Gedächtnis als poetologischer Zentralbegriff, Verwebung von Zeit- und Wirklichkeitsebenen, Wahrnehmung von Wirklichkeit statt ihrer Darstellung, Erinnerung durch Sprache, Konflikt zwischen privater und kollektiver Erinnerung
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Czyżak, Agnieszk. "Rezydencja poezji. O liryce Marty Podgórnik." Poznańskie Studia Polonistyczne. Seria Literacka, no. 33 (October 26, 2018): 41–54. http://dx.doi.org/10.14746/pspsl.2018.33.3.
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The article contains interpretations of verses written by Marta Podgórnik during last twenty years (1996-2016). This analysis of Silesian writer’s poetry lead to recognitions of aspects, themes, images, particularites it includes. Podgórnik creates pictures of unsubmissive and indyvidualistic women, which must exist out of main discourses: patriarchal and feministic. But the most important in this poetry is language used for poetic but subversive descriptions of painful experiences, also by using intertextual references.
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Mocarz-Kleindienst, Maria. "Komizm współczesnych filmów rosyjskich na warsztacie tłumacza." Studia Rossica Posnaniensia, no. 42 (June 19, 2018): 209–18. http://dx.doi.org/10.14746/strp.2017.42.19.
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The paper concerns linguistic humour as an aesthetic-cultural category which is at the core of comedy. Linguistic material from contemporary Russian movies and their translations into Polish is analysed. The basic linguistic components creating linguistic humour include neologisms, linguistic games, modifications of phraseological units and intertextual references. The aforementioned components cause many problems in movie translations into a foreign language. The paper attempts to provide an overview of ways of translating.
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Strong, Samuel. "Achievements." Journal of Internationalization and Localization 4, no. 1 (December 31, 2017): 22–39. http://dx.doi.org/10.1075/jial.4.1.02str.
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Abstract Achievements perform an essential entertainment function in video games. They instruct and reward gamers, and they serve as status symbols or bragging rights within gaming communities. These texts can be challenging for localisers, since they have multiple functions, align with or subvert game mechanics and narrative, and can contain a range of intertextual references, understood as references to other texts, genres, or popular culture (Mangiron and O’Hagan, 2006). Their localisation, therefore, warrants special handling. In this article, I make the case for achievement texts being a unique text type based on Bernal-Merino’s (2014) classification. Further, I propose a macro-level analysis approach that enables localisers to re-render these texts’ essential component parts.
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Dröse, Astrid. "Liedpoetik und soziale Praxis." Daphnis 49, no. 1-2 (March 30, 2021): 188–211. http://dx.doi.org/10.1163/18796583-12340009.
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Abstract This article is dedicated to the Leipzig Ovid translator and song poet Johann Georg Schoch. It focusses on Schoch’s major work Neu-erbaueter Poetischer Lust- u[nd] Blumen-Garten (1660). The article analyses the poetics and social references of this collection. The author argues that the bucolic, erotic, and sociable songs are linked by intertextual references to works by other Leipzig authors such as Paul Fleming and Gottfried Finckelthaus. Schoch’s contrafactum of an ode by his student friend David Schirmer (“Immer hin/ fahr immer hin”) shows that the songs function as a keepsake of remembrance and identify both authors as members of a local group. They also provide insights into the social practice of student sociability.
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Kraglund, Rikke Andersen. "Til sammenligning." K&K - Kultur og Klasse 47, no. 127 (June 11, 2019): 111–30. http://dx.doi.org/10.7146/kok.v47i127.114746.
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Generally, the conception of intertextual references in literary theory has been either very broad or very narrow and detail-oriented. On the one hand, Roland Barthes and Julia Kristeva conceive of intertext as a universal feature of all texts. No text is original and made by itself isolated from those existing before it. All texts, in short, are intertexts because they refer to other texts, conventions, and presuppositions beyond authors’ intentions. But this broad concept is difficult to work with in analyzing works of literature. It poses problems of identification and does not mark out a manageable area of investigation or object of attention with the undefined and infinite discursive space it designates and its idea about anonymous citations. Generally, the conception of intertextual references in literary theory has been either very broad or very narrow and detail-oriented. On the one hand, Roland Barthes and Julia Kristeva conceive of intertext as a universal feature of all texts. No text is original and made by itself isolated from those existing before it. All texts, in short, are intertexts because they refer to other texts, conventions, and presuppositions beyond authors’ intentions. But this broad concept is difficult to work with in analyzing works of literature. It poses problems of identification and does not mark out a manageable area of investigation or object of attention with the undefined and infinite discursive space it designates and its idea about anonymous citations. On the other hand, we have the more restricted view that focuses on specific, readily recognized signs of intertextual relations between literary texts. Gérard Genette offers a vocabulary to describe the interaction between only two identifiable texts. In this article, I shall propose a third alternative that takes the middle ground and investigate what a rhetorical approach to intertextuality means for the understanding of the concept of comparison.
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Alhusami, Mohammed Abdullah Abduldaim Hizabr. "Tradition Versus and Modernity in Laila al-Juhani’s The Waste Paradise: An Intertextual Approach." Theory and Practice in Language Studies 11, no. 10 (October 1, 2021): 1197–202. http://dx.doi.org/10.17507/tpls.1110.07.
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The aim of this paper is to investigate the issue of intertextuality in the novel Alfirdaws Alyabab (The Waste Paradise) by the female Saudi novelist and short story writer Laila al-Juhani. Intertextuality is a rhetoric and literary technique defined as a textual reference deliberate or subtle to some other texts with a view of drawing more significance to the core text; and hence it is employed by an author to communicate and discuss ideas in a critical style. The narrative structure of Alfirdaws Alyabab (The Waste Paradise) showcases references of religious, literary, historical, and folkloric intertextuality. In analyzing these references, the study follows the intertextual approach. In her novel The Waste Paradise, Laila al-Juhani portrays the suffering of Saudi women who are less tormented by social marginalization than by an inner conflict between openness to Western culture and conformity to cultural heritage. Intertextuality relates to words, texts, or discourses among each other. Moreover, the intertextual relations are subject to reader’s response to the text. The relation of one text with other texts or contexts never reduces the prestige of writing. Therefore, this study, does not diminish the status of the writer or the text; rather, it is in itself a kind of literary creativity. Finally, this paper aims to introduce Saudi writers in general and the female writers in particular to the world literature.