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1
González, Rebeca Cristina López. "The Art of “Including Art” in Animation: DreamWorks’ Intertextual Games for All." Journal of Literary Education, no. 1 (December 8, 2018): 107. http://dx.doi.org/10.7203/jle.1.12209.
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Art forms become interrelated when intertextual phenomena occur. The choice of previous art forms to create humour may seem to be a playful game, but it is the result of many kinds of inserted messages. Fourteen animated feature films by DreamWorks have been analysed and classified in depth (by using Sebeok’s (1986) intertextual categories, which were also described by Hatim & Mason (1990)), in order to demonstrate how animation is an art that encompasses other artistic productions. Firstly, art and animation will be defined in order to, secondly, use the corpus to exemplify the intertextual connections from other art forms. Lastly, the final quantitative and qualitative results will substantiate the conclusion that these productions by DreamWorks are an example of artistic cinematographic intertextuality.
Key words: animation, intertextuality, art forms, Children’s Literature..
Resumen
Las formas artísticas se interrelacionan cuando se pone en práctica el fenómeno intertextual. El uso de formas artísticas previas para crear humor puede parecer un juego pero es el resultado de la inserción de varios tipos de mensajes en un texto/discurso. Se analizan y clasifican en profundidad catorce películas de animación creadas por DreamWorks (se emplea para ello las categorías intertextuales propuestas por Sebeok (1986) descritas, a su vez, por Hatim & Mason (1990)), con el propósito de demostrar cómo la animación es un arte que engloba a otras producciones artísticas. En primer lugar, se definen los conceptos de arte y animación para, acto seguido, mostrar mediante el corpus cuáles son las conexiones intertextuales que provienen de otras formas artísticas. Los resultados cuantitativos y cualitativos permiten concluir que las producciones animadas de DreamWorks son un ejemplo de intertextualidad cinematográfica artística.
Palabras clave: arte, álbumes, museos, galerías, contexto.
Resum
Les formes artístiques s’interrelacionen quan es posa en pràctica el fenomen intertextual. L’ús de formes artístiques prèvies per crear humor pot semblar un joc però és el resultat de la inserció de diversos tipus de missatges en un text/discurs. S’analitzen i classifiquen en profunditat catorze pel·lícules d’animació creades per DreamWorks (s’hi empra per a això les categories intertextuals proposades per Sebeok (1986) descrites, d’altra banda, per Hatim & Mason (1990)), amb el propòsit de demostrar com l’animació és un art que engloba d’altres produccions artístiques. En primer lloc, es defineixen els conceptes d’art i animació per a, tot seguit, mostrar mitjançant el corpus quines són les connexions intertextuals que provenen d’altres formes artístiques. Els resultats quantitatius i qualitatius permeten concloure que les produccions animades de DreamWork són un exemple d’intertextualitat cinematogràfica artística.
Paraules clau: animació, intertextualitat, formes artístiques, literatura infantil i juvenil.
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Ariza, Mercedes. "Donkey Xote cabalga distinto en España y en Italia: reflexiones sobre la intertextualidad audiovisual." Journal of Literary Education, no. 1 (December 8, 2018): 58. http://dx.doi.org/10.7203/jle.1.12252.
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Resumen
El objetivo del presente trabajo es analizar el fenómeno de la intertextualidad en el ámbito de la traducción de la literatura infantil y juvenil en general y en el campo de la traducción audiovisual en particular. Nuestro punto de partida es el análisis de los referentes intertextuales presentes en la película Donkey Xote (José Pozo, 2007) y en su versión para doblaje en italiano. Tras identificar las dificultades y las estrategias de traducción de la “intertextualidad audiovisual” (Martínez Sierra, 2010; Chaume, 2012), presentaremos algunos referentes intertextuales añadidos en italiano para implicar de manera más directa al espectador (adulto) italiano. De hecho, la versión italiana introduce alusiones inherentes al mundo cinematográfico estadounidense e italiano inexistentes en el TO con un afán de tipo humorístico evidente.
Palabras clave: intertextualidad, traducción, doblaje, literatura infantil y juvenil
Abstract
The aim of the present paper is to analyse the intertextuality in the field of Translation of Children’s Literature and specially in Audiovisual Translation. We analyse the presence of intertextual elements in the Spanish animated film Donkey Xote (José Pozo, 2007) and in the Italian dubbing. After the identification of the difficulties and the strategies inside the Translation of the so called “audiovisual intertextuality” (Martínez Sierra, 2010; Chaume, 2012), we propose some intertextual elements introduced in the Italian version in order to capture the interest of an adult audience. In others words, the Italian dubbing shows particular allusions regarding American and Italian films that were conceived to create humour.
Key words: Intertextuality, Translation, Dubbing, Children’s Literature
Resum
L’objectiu del present treball és analitzar el fenomen de la intertextuatlitat en l’àmbit de la traducció de la literatura infantil i juvenil en general i en el camp de la traducció audiovisual en particular. El nostre punt de partida és l’anàlisi dels referents intertextuals presents a la pel·lícula Donkey Xote (José Pozo, 2007) i en la seua versió per a doblatge en italià. Després d’identificar les dificultats i les estratègies de traducció de la “intertextualitat audiovisual” Martínez Sierra, 2010; Chaume, 2012) presentarem alguns referents intertextuals afegits en italià per implicar de manera més directa a l’espectador (adult) italià. De fet, la versió italiana introdueix al·lusions inherents al món cinematogràfic estatunidenc i italià, inexistents en el TO amb un afany de tipus humorístic evident.
Paraules clau: Intertextualitat, traducció, doblatge, literatura infantil i juvenil
3
Rosa Kitzberger, Ingrid. "Love and Footwashing: John 13:1 - 20 and Luke 7:36 - 50 Read Intertextually." Biblical Interpretation 2, no. 2 (1994): 190–205. http://dx.doi.org/10.1163/156851594x00213.
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AbstractThis paper presents three intertextual readings of John 13:1-20 and/or Luke 7:36-50, starting from a feminist hermeneutic. The focus is on reader response, i.e., on the reading-process as an experience, on the effects texts have on a reader (Stanley Fish), and on the response to the response—the reflection on the reading-process. Intertextuality as applied in this paper comprises two aspects: intertextuality as a relationship between written texts, activated by a reader, and intertextuality as a dialogue between written texts and the reader as text (referring to her/his life-experience). John 13:1-20 is read intertextually by a first reader who is female, critical and informed, i.e., a woman in the Johannine community who is familiar
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Elkad-Lehman, Ilana. "Spinning a Tale: Intertextuality and Intertextual Aptitude." L1-Educational Studies in Language and Literature 5, no. 1 (January 2005): 39–56. http://dx.doi.org/10.1007/s10674-005-4953-z.
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Micheni, Brian Mugendi, and Dr Christine Atieno Peter. "Intertextuality between Pied Piper of Hamelin and Nyamgondho Wuod Ombare." Journal of English Language and Literature 10, no. 3 (December 31, 2018): 1051–64. http://dx.doi.org/10.17722/jell.v10i3.400.
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Texts borrowing from each other has been there since the existence of humankind and scholars refer to this borrowing as intertextuality. Many intertextuality scholars have gone ahead to use the phrase “no text is an island” to emphasize on the existence of intertextuality in everyday communication of humankind through spoken words or written works. The objective of the study is to determine whether there are intertextual relations between the stories, Nyamgondho Wuod Ombare and Pied Piper of Hamelin. The study aims to determine instances of intertextuality between the two stories. The study discovered that the two texts demonstrate several instances of intertextuality, especially the storyline of the texts. It discussed various manifestations of intertextual relations in the texts.
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Eremina, E. S., and N. A. Lavrova. "Phraseological Units as Intertextual Elements in Modern American Poetry." Prepodavatel XXI vek, no. 2, 2020 (2020): 340–48. http://dx.doi.org/10.31862/2073-9613-2020-2-340-348.
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The relevance of this study lies in the fact that at present the theory of intertextuality is one of the main directions of study in modern philology. Inclusion of phraseological units in a number of intertextual elements enriches the concept of intertextuality, which in turn contributes to the growth of potential of phraseologisms in modern English. Phraseologisms acting as intertextual elements are used by many authors to transfer various types of information, primarily culturological information through the activation of readers’ thesaurus knowledge. The aim of the study is to broaden the understanding of the concept of phraseological intertextuality and the role, which it plays in poetic texts, in particular, to show that phraseological intertextual elements are heterogeneous in modern American poetry and they require different degrees of activation of readers’ background knowledge. The study identifies two groups of intertextual phraseological units: they are biblical phraseological units and Shakespearean phraseological units.
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Liashko, Olha, Yan Kapranov, Olesya Cherkhava, Tamara Nasalevych, and Tetiana Riabukha. "Methodological algorithm for interpreting intertextuality within the orthodox sermon (case study of the english orthodox sermon fragment)." Revista Amazonia Investiga 10, no. 43 (August 31, 2021): 123–32. http://dx.doi.org/10.34069/ai/2021.43.07.12.
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The article represents a methodological algorithm for interpreting intertextuality in the English Orthodox sermon, which contains the following five successive stages. The first stage identifies the scientific and methodological backgrounds of the study of intertextuality, including in interdisciplinary coverage, as well as it traces the evolution of scientific views on notions of “intertextuality”; the diversity of approaches to the typology of intertextual relations have been revealed and the problem of intertextuality functions in modern texts has been outlined. The intertextual fragments have been singled out at the second stage. The types and subtypes of intertextual connections, their systematization and classification, different level means of actualization and marking of intertext in the English sermon, as well as the definition of features of semantic transformation and functional purpose of different types of intertext in the recipient text have been revealed at the third stage. The sources of intertextuality identified and systematized in the previous stages of the study have been divided into nuclear, near-peripheral and far-peripheral at the fourth stage. The functions of intertextuality in the English Orthodox sermon have been determined in view of the compositional-structural, semantic, pragmatic, linguistic and cultural and other aspects at the fifth stage.
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MiChael, Matthew. "Narrative Conjuring or the Tales of Two Sisters? The Representations of Hannah and the Witch of Endor in 1 Samuel." Journal for the Study of the Old Testament 42, no. 4 (June 2018): 469–89. http://dx.doi.org/10.1177/0309089216690382.
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The narrative of 1 Samuel opens graphically with the story of Hannah and also closes with the striking story of another woman, the ‘witch’ of Endor. These two women appear to occupy a significant place in the characterizations of 1 Samuel through the strategic locations of Hannah at the birth of Samuel, and the ‘witch’ at the death of Samuel. While past scholarship has described the individual importance of these two stories, the present study engages the intertextual connections between the two stories and the narrative importance of these two stories in the story world of 1 Samuel. Taking account of this intertextuality, the study underscores the hidden polemics inherent in their representations, especially in the staging of these two women in the same narrative space through the different literary echoes in the two stories that intertextually bind these women together as ‘literary sisters’ and mirrors of each other.
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Nazarenko, Oksana. "Intertextual units in prose of Yuri Izdryk." Culture of the Word, no. 90 (2019): 55–64. http://dx.doi.org/10.37919/0201-419x-2019.90.5.
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The article is devoted to the study of the implementation of the category of intertextuality in modern Ukrainian prose by Yu. Izdryk. An excursion into the theory of intertextuality presented in modern linguistics is made. Intertextual elements in the literary text are updated and their sources are determined. Two types of intertext in modern prose are distinguished depending on the source. The first type includes intertextual elements, the sources of which are works of literature. Among them: allusions, quotes (certified and non-certified), reminiscences, paraphrases, parades on literary texts by Ukrainian classical authors, memoirs of ancient Ukrainian literature, in particular, “The Tale of Igor’s Campaign”, works by contemporary postmodern writers. The second group of intertextual units is connected with texts of mass culture – the names of films, quotes from films, pop songs and quotes from them, allusions to cartoons. The work of Yu. Izdryk is designed for an educated reader who is able to recognize a complex of intertextual elements. It is proved that intertextuality is the main category of postmodern prose and performs a text-forming function.
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Schulze, Joshua, and J. Andrés Ramírez. "Intertextuality as Resource for Building ELLs Generic Competence: A Systemic Functional Linguistic View." Colombian Applied Linguistics Journal, no. 9 (April 4, 2011): 69. http://dx.doi.org/10.14483/22487085.3146.
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This research examines how elementary English language learners(ELLs) used intertextuality as a resource to compose informational texts. The research examines ELLs’ use of intertextuality (Fairclough, 1992, 2003; Lancia, 1997) as a resource for developing generic competence (Bhatia, 2002). Using the tools of critical discourse analysis (CDA) and systemic functional linguistics (SFL), the researchers locate instances of manifest intertextuality to evaluate the extent of reliance on intertextual resources. While findings suggest strong reliance on intertextual resources and thus the potential to see this appropriation as a form of “transgressive intertextuality” (Pennycook, 2004), the close SFL analysis revealed that students’ grammatical moves to make the text their own have the potential to increase their linguistic control over the target genre of informational text.
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Valentim, Jorge Vicente. "Quando a literatura encontra a música: reflexões em torno dos diálogos intertextuais em "Lisboaleipzig 2: o ensaio de música", de Maria Gabriela Llansol." Terra Roxa e Outras Terras: Revista de Estudos Literários 30 (December 5, 2015): 42. http://dx.doi.org/10.5433/1678-2054.2015v30p42.
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Apresenta-se, aqui, uma proposta de leitura da obra Lisboaleipzig 2: o ensaio de música (1994), da escritora portuguesa Maria Gabriela Llansol, procurando observar os diálogos intertextuais estabelecidos entre a sua efabulação ficcional e as técnicas composicionais do músico alemão Johann Sebastian Bach. A partir da observação de elos ordenados entre estas duas instâncias discursivas, objetiva-se uma reflexão que contemple o fenômeno da intertextualidade como recurso criador.We present here a reading proposal for Lisboaleipzig 2: O ensaio de música (1994), by the Portuguese writer Maria Gabriela Llansol, trying to observe the intertextual dialogue established between his fictional work and the compositional techniques of the German musician Johan Sebastian Bach. From the observation of sorted links between these two discursive instances, the objective is a reflection that addresses the phenomenon of intertextuality as a creator feature.
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Terskikh, Marina. "Audio intertextuality in modern advertising text." SHS Web of Conferences 69 (2019): 00119. http://dx.doi.org/10.1051/shsconf/20196900119.
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The article is devoted to the study of audio intertextuality in modern advertising discourse. Despite the researchers’ increased interest in the problem of intertextual interaction, the issue of the functioning of the intertextuality mechanism in advertising, including social advertising, is still not fully covered, especially, since the advertising field is dynamic and provides extensive new material for research every day. The author pays special attention to the functional yield of audio intertextuality in advertising. As the basic functions of audio intertextual inclusions in the discourse of commercial and social advertising, the author identifies the attractive and aesthetic functions as the most significant and regularly realized; as secondary – playful and persuasive. Russian and foreign commercials serve as the material for the study. The method of intertextual analysis is used as fundamental. It consists in establishing the relations of derivation between texts and analyzing the formal and semantic transformations of text units and the text as a whole.
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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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Dulebova, Irina, and Linda Krajchovichova. "The humorous dimension of intertextual relations in contemporary Slovak creolized media text." European Journal of Humour Research 9, no. 1 (April 3, 2021): 87–104. http://dx.doi.org/10.7592/ejhr2021.9.1.dulebova.
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In the article, we focused on the aspect of humour in the contemporary Slovak media discourse through the prism of the humorous potential of intertextuality. In order to grasp manifestations of intertextuality and understand how the intertextual joke functions, we turned to the concept of verbal and non-verbal precedent phenomenon (as the intertextual code of the linguo-cultural society) established in the modern Russian scholarship. Through the covers of the popular Slovak weekly .tyždeň from 2014-2019 (in total 271 issues of which 90 have an intertextual nature, and 62 of 90 "intertextual covers" can be characterized as "intertextual jokes"), we analyze what types of precedent phenomena are most commonly used in the recent Slovak creolized text and what methods of working with intertext are applied in order to achieve the intertextual joke. We have come to the conclusion that "the effect of defeated expectation" and the creation of the inconsistency of the connotative meaning of the precedent phenomenon and the situation (context) in which it is used, are the most frequent methods of achieving the intertextual joke. It was interesting to discover that for the deciphering of intellectual "intertextual riddles" with a humorous effect, Slovak authors predominantly provide the Slovak reader with precedent phenomena connected not with the Slovak, but with the European or worldwide cultural space, or that the visual precedent phenomena are more dominant over the verbal precedent phenomena in conveying the intertextual jokes in the creolized texts.
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Anisimov, Vladislav Eu. "Intertextuality of the Small Texts of the French Film Discourse." RUDN Journal of Language Studies, Semiotics and Semantics 11, no. 2 (December 15, 2020): 357–67. http://dx.doi.org/10.22363/2313-2299-2020-11-2-357-367.
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This article analyses the intertextuality of the functional and pragmatic elements of the film text (film title, synopsis, slogan) that are a direct part of the film text’s semiotic space. The pragmatic orientation of the film title, synopsis and slogan with their main task (targeted audience capture) largely determines the pragmatic nature of intertextual allusions that occur in these film text elements. The purpose of this work is to prove the presence of intertextual connections in the functional and pragmatic elements of the film text and to consider in depth the internal intertextuality of these elements. In the course of the study, we made the following conclusions: the most acceptable for the analysis of the functional and pragmatic elements of the film text is the theory of transtextuality by G. Genette, through which the intertextuality of the film title, synopsis and slogan must be considered on the basis of the paratextuality, metatextuality and hypertextuality. The intertextuality of the functional and pragmatic elements of the film text consists in the interaction of film title, synopsis and slogan with the precedent texts and events, as well as the intertextual connection inside the class of these elements. The internal intertextuality of the functional and pragmatic elements of the film text allows the movie title, synopsis, and slogan to ensure the fulfillment of their main function that is to attract to watch the movie as many viewers as possible.
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Nascimento, Diogo Da Silva. "Uma viagem de Camões a Gonçalo Tavares e vice-versa." Terra Roxa e Outras Terras: Revista de Estudos Literários 30 (December 5, 2015): 30. http://dx.doi.org/10.5433/1678-2054.2015v30p30.
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Este trabalho objetiva a abordagem da obra Uma viagem à Índia (2010), do escritor português Gonçalo Tavares, levando em consideração as relações intertextuais com Os Lusíadas, de Camões. O trabalho focará o momento inicial da narrativa, parte que compreende a introdução e o começo do percurso das duas viagens, analisando de que modo Tavares dialoga com a obra camoniana, em um processo de assimilação e, ao mesmo tempo, transformação. Será utilizado o arcabouço teórico sobre dialogismo e intertextualidade. This paper aims the approach of the work Uma viagem à Índia (2010), by the portuguese writer Gonçalo Tavares, considering intertextual relashionships with Os Lusíadas, by Camões. The paper will focus the narrative’s initial moment, where the introduction and start of both trips’ courses are comprehended, analysing how Tavares dialogues with the camonian work, in an assimilation and at the same time, transformation process. The theoretical outline of dialogism and intertextuality will be used.
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Parham, Fatemeh. "Manifest Intertextuality and Readability in SLA Handbooks." Journal of Language Teaching and Research 7, no. 5 (September 1, 2016): 867. http://dx.doi.org/10.17507/jltr.0705.06.
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It is argued that meaning has no originatory source and is the outcome of relationships between texts, or intertextuality, the manifest type of which is cued by concrete references to the works of others in direct or indirect forms. The present research, then, is an attempt to illustrate how intertextual networks are set up in SLA handbooks; manifest intertextuality is in the next phase mapped onto a diachronic axis to see if there is any meaningful pattern regulating intertextuality in the corpus of the study. The obtained results revealed a far greater reliance on contemporary works which may be justified in the light of the constant development of our knowledge of the field. Intertextuality is then examined in the framework of relevance theory to show the possible connections between the intertextual quality of a text and its readability. Since many SLA handbooks serve as textbooks for graduate students, the results of this study can help with measuring the degree of readability of handbooks and their optimality for given students.
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Kibalnikova, Tetiana. "INTERTEXTUAL MARKERS IN THE EDUCATIONAL PEDAGOGICAL DISCOURSE." Germanic Philology Journal of Yuriy Fedkovych Chernivtsi National University, no. 831-832 (2021): 77–85. http://dx.doi.org/10.31861/gph2021.831-832.77-85.
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The article addresses the issue of intertextual links in the educational pedagogical discourse. The research is based on the theoretical findings and provisions of foreign scholars as well as the linguists of the post-soviet information space, who consider the intertextual links in the aspect of M.M. Bakhtin’s dialogic theory. The basic methods of the research are general scientific (descriptive and analytical) and a specific method of linguistic abstraction. The material of the research is a modern coursebook Focus 1, 2, 3, 4 used in teaching a foreign language in mid-school. The main objective of the case study is to specify the notion of intertextuality, define its role in the didactic text, and to analyze the main intertextual markers in the English coursebook. The coursebook is viewed in the plane of the “supertext” where all heterogeneous didactic materials are interconnected in the aspect of their sense and situational context. Intertextuality in the didactic text stands in close relation with the category of addressability. It suggests a dialogic link with other texts, actualizes precedence of the didactic text, ensures intersubject connections and fosters socio-cultural competence of pupils. The author differentiates the notions of inner and outer intertextuality. The intertextual markers in the coursebook are precedent names, utterances, events and texts of different genres. There has been cleared out that the most productive spheres for borrowing precedent names are the social sphere and the sphere of arts; precedent utterances are mostly expressed by complete quotations, proverbs and sayings; precedent situations reflect nationally and universally significant events; precedent texts are adopted authentic text fragments of different genres. Non-verbal intertextual markers are schemes, tables, diagrams and artistic images.
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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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Salih, Salah M. "Textual Presupposition: An Intertextual Account." Koya University Journal of Humanities and Social Sciences 3, no. 1 (June 6, 2020): 1–7. http://dx.doi.org/10.14500/kujhss.v3n1y2020.pp1-7.
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Whereas there has been ample research on presupposition, and different taxonomies have been put forward on the various types of presupposition, presupposition triggers, on the difference between entailment and presupposition, and on the dichotomy semantic presupposition/pragmatic presupposition, the interrelationship between presupposition and intertextuality has not received due attention. In some philosophical and linguistic accounts, the presupposition is preserved as a meaning-based notion and thereby accounted for in non -intertextual way where only propositions that are accepted and taken for granted by speaker/ writer count. The present study argues for an intertextual account of presupposition, where the proposition is not the property of the speaker/writer per se; rather, the presupposed proposition is interpreted in terms of intertextual relations with previous texts. The aim of the present article was to find; changed to, what kind of knowledge text producers expect their audience to have to be able to process new texts; what kind of knowledge text producers presuppose in the creation of new texts; the conceptual status of presupposition when new information is conveyed; and how presuppositions obtain in the case of intertextuality. This has been accomplished by drawing on both notions: Presupposition and intertextuality to argue whereas the two notions have been kept separate in non-intertextual accounts on presupposed propositions, both notions work on the same level of drawing on the text, and therefore to argue for coining a new term textual presupposition.
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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.
Full textAbstract:
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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Millan, Catalina. "Adapting Intertextuality: The case of nursery rhyme characters in creating new canons in children’s culture." Journal of Literary Education, no. 1 (December 8, 2018): 193. http://dx.doi.org/10.7203/jle.1.11445.
Full textAbstract:
The increasingly common use of English nursery rhymes intertextually has impacted upon their transfer into target cultures: entire nursery rhymes, fragments and characters are now found in translational situations. Most of these situations are adaptations of nursery rhymes into other media; and one of the most evident is the use of nursery rhyme characters found in a different context, frequently portrayed visually. Through a reception case study with Spanish students, this report intends to address issues about the relevance of intertextuality in translation, as well as the child’s assumptions in relation to discourse and visual input. Through a qualitative mixed-method study, children worked with nursery rhymes without visual prompts as well as intertextually presented nursery rhyme characters, and offered insight into acquired expectations and anticipations. Through the revision of the results, visual adaptation proves to contribute to children’s acculturation and assumptions, reducing the openness to foreignization.
Key words: adaptation, intertextuality, nursery rhymes, translation, acculturation
ResumenEl uso cada vez más común de las nursery rhymes inglesas de forma intertextual tiene un impacto sobre su transferencia a la cultura meta: rimas enteras, fragmentos o personajes se encuentran ahora en situaciones de traducción. Muchas de estas situaciones son adaptaciones de nursery rhymes a otros medios; y una de las más evidentes es el uso de personajes de nursery rhymes en un contexto diferente, normalmente con un apoyo visual. A través de un estudio de recepción con estudiantes españoles de edades comprendidas entre 12 y 14 años, este artículo pretende ofrecer respuestas sobre la relevancia de la intertextualidad en la traducción, además de las presuposiciones en relación al discurso y a los mensajes visuales. A través de un estudio de métodos mixtos, un grupo de participantes trabajó con nursery rhymes sin apoyo visual y con personajes de nursery rhymes presentados de forma intertextual y con apoyo visual. El estudio ofrece información sobre las expectativas adquiridas y los patrones discursivos de los niños y adolescentes. En la revisión de los resultados, se demuestra que la adaptación visual influye en la aculturación y las presuposiciones de los niños partiendo de un modelo hegemónico, y reduce su capacidad de extranjerización en transferencias culturales.
Palabras clave: adaptación, intertextualidad, nursery rhymes, traducción, aculturación.
ResumL’ús cada vegada més comú de les nursery rhymes ingleses de forma intertextual té un impacte sobre la seua transferència a la cultura meta: rimes senceres, fragments o personatges es troben ara en situacions de traducció. Moltes d’aquestes situacions són adaptacions de nursery rhymes a d’altre mitjans i una de les més evidents és l’ús de personatges de de nursery rhymes en un context diferent, normalment amb un suport visual. A través d’un estudi de recepció amb estudiants espanyols d’edats compreses entre 12 i 14 anys, aquest article pretén oferir respostes sobre la rellevància de la intertextualitat en la traducció, a més de les pressuposicions en relació al discurs i als missatges visuals. A través d’un estudi de mètodes mixts, un grup de participants va treballar amb nursery rhymes presentats ací de forma intertextual i amb suport visual. L’estudi ofereix informació sobre les expectatives adquirides i els patrons discursius dels infants i adolescents. En la revisió dels resultats, es demostra que l’adaptació visual influeix en la aculturació i les pressuposicions dels infants tot partint d’un model hegemònic i redueix la seua capacitat d’estrangerització en transferències culturals.
Paraules clau: adaptació, intertextualitat, nursery rhymes, traducció, aculturació
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PALASH, Alyona. "INTERTEXTUALITY IN THE POETIC LANGUAGE OF MAXYM RYLSKYI." Culture of the Word, no. 92 (2020): 114–22. http://dx.doi.org/10.37919/0201-419x-2020.92.9.
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Problem’s setting. The problem of interpretation and research of the term “intertextuality” today is a topical issue of philosophy, literary criticism, linguistics, modern Ukrainian linguistic poetics, and stylistics of the text. That is, no text can be created in an empty space, it must have an intertextual relationship with other works or texts. Analysis of recent studies. The theoretical basis for the study formed works in the field of modern linguistics, in particular, Robert de Bogrand, Alexander Veselovsky, Olga Vorobyova, Wolfgang Dressler, Alexander Potebnya considered “intertextuality” as a textual category; Yuri Lotman, Vladimir Lukin – as a prerequisite for textuality; Lyudmyla Babenko, Suren Zolyan, Larysa Omelchenko, Natalia Fateeva – as means of its implementation in specific texts. Objective of the research. The purpose of the work is to analyze the external and internal connections of the literary text of Maksym Rylsky and the means of their realization in the explicitly intertextual process of the text’s existence. The main part. The article studies the peculiarities of the artistic embodiment of intertextuality in the poems of Maxim Rylsky; the definition of intertext in a broad and narrow sense is traced; the classification of the intertextuality of Jennet is singled out. The focus is on the separation of language units, intertextual components in the language of Maxim Rylsky; examples and quotations, allusions, titles, epigraphs, hints, genre connection of texts, references to the pretext in the artist’s creative work are given and analyzed. Conclusions. Research and analysis of the intertextuality of the artist’s poetics show that in a new way the comprehension and depiction of quotations, allusions, epigraphs, titles, hints, paraphrases become differential features of the individual author’s style.
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Alves, Júnia de Castro Magalhães, and Lúcia Trindade Valente. "Grupo Galpão: A volta de Molière ao teatro de rua." Aletria: Revista de Estudos de Literatura 7 (December 31, 2000): 69–77. http://dx.doi.org/10.17851/2317-2096.7..69-77.
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Resumo: Este trabalho investiga o procedimento intertextual como elemento orgânico na construção da peça Um Molière imaginário, do Grupo Galpão de teatro de rua, em Minas Gerais, Brasil.Palavras-chave: intertextualidade; Molière; Grupo Galpão.Abstract: This paper investigates the intertextual procedures as an organic element in the construction of the play Um Molière imaginário by Grupo Galpão, a street theatre company from Minas Gerais, Brazil.Keywords: intertextuality; Molière; Grupo Galpão.
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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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Samsonova, N. V. "Phenomenon of intertextuality in literary education." Literature at School, no. 1, 2020 (2020): 79–88. http://dx.doi.org/10.31862/0130-3414-2020-1-79-88.
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The author of the article, considering the current sociocultural situation, finds it appropriate to use the intertextual approach to the analysis of literature within the literature classes that aims to penetrate deeply into the text. Due to identifying multi-level links with the cultural context, the given approach enriches the reader’s outlook, creates aesthetic taste, and provides cultural self-identification that is relevant to teaching literature. The purpose of the article is to show the use of dialog and hermeneutic methods of analysis as well as the game form of organizing a lesson within the framework of use of the intertextual approach and to prove the importance of this method in modern educational practice. To prove her point of view, the author offers a certain lesson model, including an intertextual game, which makes schoolchildren gradually develop the intertextual competence, including knowledge of precedent texts and the typology of intertextual links and intertextual elements; analytical skills associated with finding intertextual elements at different levels of text production, the implementation of associative links with other texts, understanding the author’s position; modes of action necessary to interpret the literature. The author’s scientific and methodical reflection is based on the discovery of the phenomenon of intertextuality, which includes the form-building and sense-forming functions of the text due to which there occurs a dialogue of various kinds of texts, interconnected in a broad cultural context. The author believes that in relation to the pragmatic educational situation in the field of studying literature in school, the experience of its systematic appeal to intertextuality as a universal text category with the use of dialog and hermeneutic methods of analysis and intertextual play, activating the cognitive and interpretive activities of schoolchildren, may be of interest to the language and literature teachers. The result of the article is a scientifically based point of view on the role of the intertextual approach to the analysis of a work of literature in the further development of the methodology, theory, and practice of modern methodical science.
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Кalinichenko, M. M. "THE COPYRIGHT AND PROBLEM POSTMODERNIST INTERTEXTUAL IN THE MODERN LITERATURE." Theory and Practice of Forensic Science and Criminalistics 15 (November 30, 2016): 354–59. http://dx.doi.org/10.32353/khrife.2015.44.
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The article discusses some of the significant characteristics of postmodern intertextuality in modern Ukrainian and World literature within the context of expert studies of literary works as intellectual property objects. Modern postmodernist writers’ intertextuality in their literary works implies the reproduction of certain specific content elements directly borrowed from other works. In fact, intertextuality at the aesthetic level «makes legitimate» literary plagiarism it renders deliberate borrowing of other people’s creative work results not copyright violations but a popular work of literary modern work of fiction. Taking into account that in Ukraine there has already been formed a national school of literary postmodernism, we can assume that the issue of intertextual borrowings may be included into the list of typical intellectual property issues to be considered by forensic experts. That is why there is a need for revisiting the generally accepted principles of forensic examination of intellectual property objects. The author suggests certain research means and methods of conducting examinations of potential copyright infringements that are caused by unauthorized intertextual borrowing.
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Błaszkowska, Hanka. "The customer magazine of the automobile branch as a network of text varieties." Germanica Wratislaviensia 145 (March 8, 2021): 107–17. http://dx.doi.org/10.19195/0435-5865.145.10.
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The marketing instrument of corporate communication, the customer magazine, is presented as a network of texts, subtexts and text types, and reflected against the background of intertextuality research. The customer magazine has a high intertextual potential as a carrier of texts of various journalistic genres. It is a modern marketing print medium, which, if linked with digital applications, acquires a new materiality. The surrounding of a comprehensive semiotic network refers to a further intertextual dimension of the medium.
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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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Souza-Santos, José Elderson de, and Aurea Suely Zavam. "Movimentos intertextuais na configuração do plágio." Revista Investigações 33 (December 19, 2020): 217. http://dx.doi.org/10.51359/2175-294x.2020.244472.
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Este trabalho discute a constituição intertextual do plágio. Os pressupostos sustentados por Christofe (1996), Cavalcante e Brito (2011), Nobre (2014) e Koch (2009) permitem compreender como o plágio se apropria de movimentos intertextuais típicos a outros processos intertextuais (citação, paráfrase, paródia e pastiche) para se manifestar. Essa realidade dá à prática múltiplas formas de se organizar disfarçando o texto-plágio e mantendo o texto-fonte. A análise compara um texto acusado de plágio com seu texto-fonte, demonstrando, a partir de parâmetros funcionais e constitucionais (NOBRE, 2014), como esse fenômeno pode se configurar por meio dos movimentos intertextuais da paródia.
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Mika, Bogumila. "Music of Karol Szymanowski in the intertextual dialogue." New Sound, no. 51 (2018): 64–81. http://dx.doi.org/10.5937/newso1851064m.
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In this paper I delineate how two aspects of the music of Karol Symanowski-subjective and objective-enter into intertextual dialogue with other musical pieces. The subjective aspect of intertextual dialogue is defined as Symanowskis use in his own music of fragments of the works of various composers and of folk music. The objective aspect of intertextual dialogue is defined as citations from or allusions to Symanowskis work by other Polish composers. The problem of intertextuality in music remains important when considering participation of a single musical work in 'the world of musical art in general, as well as in the world of common human experience.
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Thomas Sarkisian, Araxi, and Alya Ahmed Al-rubai'i. "Types of Power in Intertextuality: Sir Ken Robinson's Ted Talk 'do Schools Kill Creativity?' As A Sample." Journal Of Duhok University 23, no. 2 (December 19, 2020): 576–90. http://dx.doi.org/10.26682/hjuod.2020.23.2.31.
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This study attempted to investigate the use of intertextuality as a source of power in a TED talk sample, viz., Sir Ken Robinson's 'Do Schools Kill Creativity?' within the framework of Critical Discourse Analysis (CDA). This paper followed a qualitative paradigm in analyzing the sample data. Accordingly, an eclectic model was devised, integrating Gee's (2014a, 2014b) model of intertextual analysis and French and Raven's (1959) model of the bases of social psychological power. The application of this model to the selected data has yielded some conclusions, the most salient of which is that intertextuality is important in TED talks as it is used to show implicit meanings to exercise two types of power: expert power and referent power. Accordingly, it is recommended to consider power relations and the exercise of power when conducting any intertextual analysis within the framework of CDA.
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Elkad-Lehman, Ilana, and Hava Greensfeld. "Intertextuality as an interpretative method in qualitative research." Narrative Inquiry 21, no. 2 (December 31, 2011): 258–75. http://dx.doi.org/10.1075/ni.21.2.05elk.
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This article seeks to present and exemplify to the qualitative researcher the term intertextuality as a concept and as a method that may offer a framework for the analysis and interpretation of short narratives or life stories. Intertextuality as a central concept in the study of culture is particularly suitable for qualitative research, central to which is the subjectivity of the narrator, the story, and the listener/researcher, as well as the relative and indeterminate dimension of knowledge. However, using intertextuality as an interpretative method in various types of texts mandates the researcher’s awareness and abilities in areas that this article discusses. In light of the methodological objective of the article, we selected narratives that represent different types of intertextual linkage on different interpretative levels, on different levels of complexity, and on different levels of ideas. The intertextual reading to be demonstrated detects the combination of various types of cultural components in the narrative as a means of representing the world of the narrator; it takes into account a possible macro context in the narrator’s story, its style and structure, the narrator’s implicit personal interpretation, and the researcher-interpreter’s option to reread the narrative.
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Hu, Yuanyan. "Intertextualities in English Writing of EFL Learners in the Context of Chinese University." Journal of Language Teaching and Research 10, no. 2 (March 1, 2019): 271. http://dx.doi.org/10.17507/jltr.1002.08.
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When the writing subject is communicating with the addressee, their texts simultaneously communicate with the present and the past texts. The author carries out an empirical study to find out issues to be addressed in the context of Chinese university in EFL learners’ English writing with respect to intertextuality. The study examines the manifestations of three types of intertextualities---material intertextuality, generic intertextuality and cultural intertextuality and finds out that there are obvious material intertextualities between students’ individualized texts and exterior texts. Certain generic intertextualities manifesting in the repetition of specific structures are deficient. And in terms of cultural intertextuality, it is found that the exterior texts have exerted an obvious cultural intertextual influence on activating pertinent schema texts of participants, promoting the comprehension of the writing theme as well as further affecting the completions of their writings.
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Miller, Geoffrey D. "Intertextuality in Old Testament Research." Currents in Biblical Research 9, no. 3 (June 2011): 283–309. http://dx.doi.org/10.1177/1476993x09359455.
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All biblical scholars are familiar with the term ‘intertextuality’, but few can agree on the nature of the concept or how readers should identify intertextual relationships among texts. Some scholars employ a purely synchronic approach when reading texts together, emphasizing the autonomy of the reader in attributing meaning to textual connections. Other scholars pursue a more diachronic approach, seeking to uncover the specific links to precursor texts that the author wants readers to perceive. Within and between these two groups, disagreements also persist over how to differentiate legitimate intertextual connections from coincidental similarities, as well as how to exegete interrelated texts in light of their connections. This article surveys literature from the past twenty years that aims to answer these questions. None of these answers have brought about consensus, and perhaps the best solution is to label some of these studies by a name other than ‘intertextuality’.
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De Lange, A., and A. Combrink. "The matrix and the echo: Intertextual re-modelling in Stoppard’s Rozencrantz and Guildenstern are dead." Literator 12, no. 2 (May 6, 1991): 69–84. http://dx.doi.org/10.4102/lit.v12i2.761.
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This article investigates the ‘intertextual dialogue’ between Shakespeare’s Hamlet and Stoppard’s Rozencrantz and Guildenstern are dead. A tangential look is also directed at Stoppard’s Dogg’s Hamlet and Beckett’s Waiting for Godot. The intertextual relationship between the texts is approached from different angles and different defining concepts are used - Topia’s typology (1984), involving the view of both vertical and horizontal perspectives to effect fusion, separation or intertextuality, is used to help determine that Stoppard’s remodelling of the Shakespearian matrix results in completely new texts, not merely a ‘slightly’ distorted text.
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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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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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H.W., Muhammad Rosyid. "Hubungan Intertekstual Novel Candra Kirana dan “Tjerita Panji Angreni”: Perspektif Riffaterre." ATAVISME 23, no. 1 (June 30, 2020): 104–16. http://dx.doi.org/10.24257/atavisme.v23i1.620.104-116.
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Penelitian ini bertujuan membahas hubungan intertekstual novel Candra Kirana karya Ajip Rosidi dengan "Tjerita Panji Angreni". Unsur apa saja dan bagaimana novel Candra Kirana memiliki hubungan intertekstual dengan "Tjerita Panji Angreni' sebagai teks hipogramnya adalah pertanyaan penelitian ini. Dalam menelaah hubungan intertekstual ini, penulis menggunakan teori intertekstual Michael Riffaterre yang menitikberatkan pada analisis isi dengan metode pembacaan heuristik dan hermeneutik. Temuan penelitian ini adalah bahwa novel Candra Kirana menunjukkan hubungan intertekstual dengan Tjerita Panji Angreni melalui unsur tema, citra tokoh, dan alur cerita. Meskipun demikian, novel Candra Kirana juga mentransformasikan makna-makna progresif yang berbeda dengan "Tjerita Panji Angreni", seperti makna nasionalisme yang berupa cinta akan kerajaan, makna kesetaraan gender yang berupa kesetiaan laki-laki, keberanian, kekuatan, perjuangan dan ketidakpasrahan perempuan, makna kerakyatan dengan pelibatan tokoh utama dari kalangan rakyat dan makna religiusitas yang berbentuk dasar niat Panji dalam mencari pasangan hidup.[Intertextuality on Novel Candra Kirana and "Tjerita Panji Angreni": Riffaterres Perspective] This research aims to discuss the intertextuality of Candra Kirana novel by Ajip Rosidi with "Tjerita Panji Angreni". What elements and to what extend Candra Kirana novel has an intertextual relationship with Tjerita Panji Angreni as the hipogram text were the questions of this research. In examining this intertextual relationship, the writer used Michael Riffaterre's intertextual theory which focused on content analysis with heuristic and hermeneutic readings. The findings of this study were that the novel Candra Kirana showed intertextuality with the "Tjerita Panji Angreni" through elements of themes, character images, and story lines. Even so, Candra Kirana's novel also transformed progressive meanings that differ from the Tjerita Panji Angreni such as the meaning of nationalism in the form of love for the kingdom, the meaning of gender equality in the form of male loyalty, courage, strength, struggle and women's insecurity, the meaning of populist with engagement the main character of the people and the meaning of religiosity in the form of Panji's intention in finding a life partner.Keywords: intertextuality; novel; "Tjerita Panji Angreni"
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Al-Kharabsheh, Aladdin. "Qur’an-related Intertextuality: Textual Potentiation in Translation." International Journal of Applied Linguistics and English Literature 6, no. 6 (September 1, 2017): 195. http://dx.doi.org/10.7575/aiac.ijalel.v.6n.6p.195.
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Qur’an-related intertextuality, envisaged as an enriching communicative act both monolingually and interlingually, represents a case of semantic complexity that is wired to present inconceivable translation challenges. Drawing on Derrida’s (1977) dichotomy iterability/citationality, Kristeva’s (1980) vertical intertextuality, Fairclough’s (1992a; 1992b; 1995 & 2011) manifest intertextuality, and Bakhtin’s (1986) double voicing or re-accentuation, the study argues that Qur’an-related intertextuality is conducive of conceptual densities, the ‘harnessing’ of which requires ‘mobilizing’ those translation strategies that should exceed the lexicographical equivalence (Venuti 2009) to establish intertextual relations relevant to the form and theme of the foreign text. To resolve the arising translation problems, the study basically proposes two synthetic approaches: the gist-paratextual and the gist-exegetical. Translation skopos has been found to be central to the production and reception of intertextuality and to determining which of the two proposed synthetic approaches to operationalize. Finally, analysis shows that Qur’an proved to be a virtual breeding ground for textual dynamism and potentiation.
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Tsakona, Villy, and Jan Chovanec. "Revisiting intertextuality and humour: fresh perspectives on a classic topic." European Journal of Humour Research 8, no. 3 (October 12, 2020): 1. http://dx.doi.org/10.7592/ejhr2020.8.3.tsakona.
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In humour research, intertextuality has been extensively studied with the aim of understanding how humorous texts are constructed on the basis of previous texts. In this paper, we elaborate on the sociopragmatic functions of intertextuality, pointing out not only how humorous texts rely on previous texts and background knowledge, but also what sociopragmatic functions intertextuality serves in actual communicative situations, e.g. the effect the recognition (or not) of intertextual references has on the segmentation of recipients into various groups. To this end, the paper discusses intertextuality in relation to such traditional concepts as textuality and genre, and adds a focus on the speaker’s intention and the recipient’s interpretation. The paper serves as a framing introduction to six other papers in the special issue on the topic of “Intertextuality and humour”, articulating a common research position and arguing for the extension of scholarly attention to such applied domains as critical literacy education, marketing communication, and the legal framework regulating the creation and reception of humorous texts and artefacts.
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Walty, Ivete Lara Camargos, and Maria Helena Rabelo Campos. "Chapeuzinho vermelho, chapeuzinho amarelo: uma menina, duas histórias." Cadernos de Linguística e Teoria da Literatura 8, no. 16 (December 31, 2016): 189. http://dx.doi.org/10.17851/0101-3548.8.16.189-199.
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Resumo: Leitura comparatica das estórias a partir de sua relação intertextual, de suas constantes e variantes e das diferentes vozes que nelas ressoam.Résumé: Lecture comparative des récits à partir de leur rapport intertextuel, de leurs constantes et de leurs variantes et de différented voix qui résonnent en eux.
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Abdullayeva, Yegane. "Intertextual Dialogue in the British Postmodern Novels: On the basis of Peter Ackroyd’s Novels." International Journal of English Linguistics 8, no. 3 (February 10, 2018): 239. http://dx.doi.org/10.5539/ijel.v8n3p239.
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The peculiarities of intertextual dialogue in the postmodernist novel in Britain are investigated in the article. Literary-theoretical matters of intertextuality were clarified and commented on its reflection as a form of dialogue in literature. The intertextual dialogue’s functions were analyzed on the postmodernist novel as “The house of Doctor Dee”, “The Lambs of London”, “The Casebook of Victor Frankenstein” by Peter Ackroyd, the British writer. The reminiscences, allusions, quotations, and aphorisms used in the novels in a fact form the skeleton of the works and is the means to show heroes’ characteristic features. P. Ackroyd presenting intertextual dialogue with the parallel commentary in the development of events “settles” them in certain cultural paradigms. So the writer makes open the structure of the postmodernist novel and opens the way for many interpretations.
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Tarasova, M. V., M. K. Ogorodov, and M. L. Petrova. "TYPES OF DIALOGISM IN FRENCH NEWSPAPER DISCOURSE." Philology at MGIMO 20, no. 4 (December 20, 2019): 56–62. http://dx.doi.org/10.24833/2410-2423-2019-4-20-56-62.
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The article examines types of dialogism in French newspaper discourse and determines factors that cause dialogism in discourse and lingua-pragmatic forms of realization of its types. These factors are communicative situation and intertextuality. A communicative situation underlies two types of dialogism: the interactional dialogism, which is a speech interaction between a text author and its reader, and the interlocutive dialogism, which is the interaction of speech actors within the interview genre. Intertextuality in the form of quotations in media texts and/or text headlines creates transtextual dialogism, represented by its two forms: intertextual dialogism (speech interaction between a text author and a quotation author) and paratextual dialogism (authorization of a quotation included into the text headline by a text author). The first two types of dialogism and intertextual dialogism are characteristic of various discourse types, whereas paratextual dialogism is a distinctive feature of newspaper discourse. For discourse analysis there were selected texts of various genres from printed and electronic versions of French national and regional newspapers such as Le Monde, Le Figaro, Libération, Le Parisien and Nice-Matin.
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Burzyński, Tomasz. "Systemic Intertextuality. A Morphogenetic Perspective." Text Matters, no. 10 (November 24, 2020): 433–45. http://dx.doi.org/10.18778/2083-2931.10.24.
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If late modern literary production is structured by any principles rendering order to the otherwise nebular character of the process, this is the idea of intertextuality that paves the way for the dissolution of well entrenched structures, literary conventions and institutionalized canons. By fostering and facilitating the erosion of boundaries between elite and popular culture, mechanisms of intertextuality show that literature is not only a fixed collection of texts, but also a dynamic social system including structured practices of production and reception together with their institutional, cultural and technological determinants. The paper aims to provide a sociologically-oriented model of intertextual relations taking place within the social system of literature. In this context, circulation, dissemination, and recycling of literary motifs is viewed from a perspective of morphogenetic processes which result in the structural elaboration and systemic change due to the mobilization of social, cultural, and economic capitals in an effort to alter pre-existent practices of signification. Consequently, literature is discussed as an intertextual system in statu nascendi, a sphere of social practices that knows no sense of institutional boundaries or structural constraints.
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J.V., Perlova. "AN INTERTEXTUAL APPROACH TO THE ANALYSIS OF ADVERTISING SLOGANS." ECONOMIC VECTOR 3, no. 26 (September 2021): 26–28. http://dx.doi.org/10.36807/2411-7269-2021-3-26-26-28.
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This article provides an overview of an intertextual approach to the analysis of advertising slogans, the effectiveness of slogans is estimated. Slogans are investigated from the standpoint of the theory of intertextuality. The relevance of the work is proved by the increasing interest to the advertising discourse based on the methodology of new research paradigms.
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Bulakh, Maiia. "Internet meme as a means of intertextuality." Actual issues of Ukrainian linguistics theory and practice, no. 41 (2020): 105–18. http://dx.doi.org/10.17721/apultp.2020.41.105-118.
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The article considers the features of meme as a genre of Internet communication. The author focuses on the characteristics of the Internet meme as a means of intertextuality. The main attention is paid to the types and sources of intertextuality of memes in the Ukrainian-language Internet. In the last few years there has been a growing interest in study of new internet genres. To the author’s knowledge, Ukrainian internet meme has been scarcely investigated from the point of view of intertextuality. The relevance of this work is due to the fact that Internet memes in the Ukrainian media are insufficiently explored. In particular, the category of intertextuality of memes has been poorly studied. This paper presents a new look at a previously unexplored aspect of intertextuality in Internet memes of the Ukrainian-language segment of the Internet. The purpose of this article is to identify and describe the features of the implementation of intertextuality in Internet memes. The author defines the Internet meme as a unit of Internet discourse, which is characterized by a combination of standard in form and expression in meaning. In this paper, the scholar describes meme as an illustration and a text to it. Due to their nature, memes are concentrated information in a vivid form. The material for the study is Internet memes from social networks of the Ukrainian-language Internet, such as Facebook, Instagram, Twitter. In order to study intertextuality in internet memes the author uses intertextual analysis and continuous sampling method. This allowes to explore the intertextual basis of Internet memes. The research shows that the nature of the intertextuality of Internet memes is diverse. The author outlines that prototexts of Internet memes are precedent names, statements, texts and situations. The paper describes the types of precedent texts, as well as the mechanisms of intertextuality. The author separately considers the functions of precedent texts in memes. The results show that the main functions of Internet memes are a means of creating comic effect, popularization through introduction into the global context, aesthetic effect, concentrating information and intellectual play. Research on intertextuality in Internet memes appears fully justified as it is still insufficiently studied. The conclusions state that intertextuality is realized in Internet discourse, because Internet genres are interconnected and interactive. Duplication of the meme supports its precedent. Today, all texts on the Internet are interconnected by hypervocations, and the Internet has become one hypertext in the modern information and communication environment.
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Luo, Jun, and Qin Liu. "Towards the Narrative Intertextuality in Poetic Narratology: An Intertextual Analysis of Lawrencian Birds, Beasts and Flowers." World Journal of Social Science Research 4, no. 1 (January 3, 2017): 22. http://dx.doi.org/10.22158/wjssr.v4n1p22.
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<p><em>For a long time, there have been the mountainous discussions about intertexuality in the field of novelist narrative studies by scholars from China and western countries in their academic practices in terms of the in-textual responses from a novelist narrative text to another produced either by the same writer or by different novelists based on the academic focus of the textual influences from one novelist narrative text to another. However, there have been rarely comparative discussions focused on the narrative intertextuality of the poetic narrative texts by taking Lawrencian poetic collection Birds, Beasts and Flowers as a case of intertextual representation. Therefore, this essay aims to make a quest for the narrative intertextuality of poetic narrative texts by taking the poems in the narrative poetic collection of Birds, Beasts and Flowers as a specific case as well as an exemplary justification of this narrative proposition that narrative intertextuality including the linguistic intertextuality, literary intertexuality, rhetorical intertextuality and thematic intertextuality has been making its way to the perfection of poetic narration in the enrichment and betterment of poetic narratology.</em></p>
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O'Rourke, Donncha. "HOSPITALITY NARRATIVES IN VIRGIL AND CALLIMACHUS: THE IDEOLOGY OF RECEPTION." Cambridge Classical Journal 63 (April 27, 2017): 118–42. http://dx.doi.org/10.1017/s1750270517000057.
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This article highlights the extent and significance of the intertextual relationship between reception narratives in Virgil'sAeneid(Aeneas and Evander) and Callimachus’Aetia(Heracles and Molorcus) andHecale(Theseus and Hecale). Encompassing Aeneas’ succession to Hercules as Evander's guest, his failed pledge to his host and his acquisition of a shield on which his historical successor, Augustus, is depicted, Callimachean intertextuality informs the narrative of theAeneidin its widest sweep. As the archetypal scene of Homeric hospitality (Odysseus and Eumaeus) is received from Callimachus by the new Homer of Augustan Rome, the narrative of reception becomes one of intertextual and cultural appropriation, the dynamics of which are far from those of amicable exchange.
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Faquin, César Biégas, and Denize Araujo. "Visual hybridizations in two audiovisual productions." Novos Olhares 9, no. 1 (July 10, 2020): 142–54. http://dx.doi.org/10.11606/issn.2238-7714.no.2020.171999.
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This paper aims to analyze and discuss two films that present hybrid aesthetics: Lars von Trier’s Dogville (2003) and Welchman´s and Kobiela´s Loving Vincent ( 2017). Dogville evokes the theatre language in its construction and develops an intertextual relationship by using Brecht’s epic theatre, while Loving Vincent is a tribute film to Vincent van Gogh, essentially intertextual because it is based on letters that van Gogh once wrote, as well as his own works of art. The theoretical frame of reference on the processes of dialogism, polyphony, hybridization, intermediality and intertextuality is provided by Araujo, Bazin, Bakhtin, Brecht, Kristeva, Metz, Muller, Nagib e Rajewski.