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Le mot, le dialogue et le roman
... During the transition from structuralism to post-structuralism, Kristeva (1969) first proposed the concept of intertextuality based on Mikhail Bakhtin's dialogue theory. She pointed out that intertextuality involved the ells.ccsenet.org ...
This study was composed based on the author’s published translation practice, Overworld in Flames, which, written by the best-selling author with New York Times, Winter Morgan, portrays the course of how Gameknight999 and his companions avert the blazing inferno devouring the whole Overworld against unidentified attackers. Since intertextual references were found ubiquitous in the book, in consonance with the classification by N. Fairclough (1992), the author categorizes its intertextual references into manifest intertextuality and interdiscursivity, and discusses its Chinese translation. This paper demonstrates that intertextuality provides a systematic approach for identifying and handling complex intertextual relationships in literary works, guiding translators to make dynamic choices based on both theory and their own intentions, in the hope to provide some implications for translators to understand intertextual representations in literary translation and to produce better works in the future.
... Lacasse thus perceives music as text and attributes the concept of intertextu-ality to Julia Kristeva ( Lacasse 2000: 36). Upon closer examination, however, it becomes clear that Kristeva had derived the concept of intertextuality from Bakhtin's concept of polyphony (Kristeva 1969). ...
The importance of (sub)cultures presence in specific territories or contexts is well known, and has merited relevant research. This paper focuses on the metropolitan light rail system – the subway – in their lines, entries-exit zones, and vehicles as they were appropriated by the punk movement. We will first and foremost analyze the city of São Paulo, between 1975 and 1985, key moments when both the first punk bands and the first subway lines were beginning to develop, as well as drawing parallels with the situation in Lisbon at the same time.
... Lacasse thus perceives music as text and attributes the concept of intertextu-ality to Julia Kristeva ( Lacasse 2000: 36). Upon closer examination, however, it becomes clear that Kristeva had derived the concept of intertextuality from Bakhtin's concept of polyphony (Kristeva 1969). ...
In this paper we seek to understand the emergence of youth culture in Portugal. We will focus on punk, which is particularly symbolic of the openness, cosmopolitanism, modernity and aesthetics which have continued to mark Portuguese society. Moreover, we will narrow our scope to the female experience, trying to give an adequate development of the gender differences and similarities in punk.
... Se cita como ejemplo una obra de arte, sin descartar otros referentes culturales: el hipotexto será el origen, por ejemplo La caída de los ángeles rebeldes; el hipertexto será el resultado referido a su presencia reelaborada en la canción. El caso del video de BTS responde a la idea de mosaico de citas de hipotextos (Kristeva, 1967). ...
Abstract:
This article exposes the relevance of the picturebook as a place of communication between the reader-viewer and the author/s of the book (literary and/or plastic, hereinafter "author") is exposed. The point of view frames and focuses on the relevance of the image, since who writes is linked to the area visual; however, it is based on the premise that the author makes a total communication proposal (Literary and Visual-Plastic) through the pages. Specific picture books are cited that contain cultural references in the illustrations and new and specific terminology is indicat-ed. The forms of insertion of the cultural references, the purposes, etc. are also exposed. The cited picture books are produced by famous authors in children's literature and represent a repertoire to take into account with regard to the spread visual culture.
Keywords: Children's literature, picturebooks, illustration, cultural references, intertextuality, visual culture.
Resumen:
En este artículo se expone la relevancia del álbum ilustrado como lugar de comunicación entre en el lector-espectador y el autor/es (literario y/o plástico; en adelante “autor”) del libro. El punto de vista enmarca y se centra en la relevancia de la imagen, puesto que quien lo escribe se vincula al área visual; sin embargo, se parte de la premisa de que el autor realiza una propuesta de comunicación total (Literaria y Plástica) a través de las páginas. Se citan específicamente álbumes que contienen referentes culturales en las ilustraciones y se indica terminología novedosa y específica. También se exponen las formas de inserción de los referentes culturales, las finalidades, etc. Los álbumes citados están producidos por autores consagrados en literatura infantil y suponen un repertorio para tener en cuenta con respecto a la difusión de la cultura visual.
Palabras clave: Literatura infantil, álbumes ilustrados, ilustración, referentes culturales, intertextualidad, cultura visual.
... --------6 Cfr. Kristeva 1969aKristeva , 85 e 1969b Cfr. Melania Mazzucco in Torossi Tevini 2005, 12. 8 Si veda ad esempio la ripartizione "Primo giorno di febbre", "Secondo giorno di febbre" etc. nel romanzo biografico La lunga attesa dell'angelo (2008). ...
In looking at the debate about the ‘end of postmodernism’ and ‘new realism’ it is noticeable that the label of ‘realism’ has been applied to writers who are actually closer to postmodern narrative techniques. This applies among others to the novel Un giorno perfetto (2005) of the bestselling Italian author Melania Mazzucco, featuring a complex intertextual-intermedial bricolage. Focusing in particular on its narrative which is deeply marked by typical cinematographic modes, this essay contends that, as more than a social fresco, the novel’s depiction of contemporary Italy explores the conflict between appearance and substance as a key experience of the subject vis à vis the common mediatized reality. As constantly recurring themes, cinema and photography serve the purpose of emblematically embodying the illusory character of this reality.
... En el análisis interpretativo del material se articulan las siguientes tres dimensiones: Narrativa, Gráfica-Proyectiva e Interpretativa, dando cuenta de una comprensión intertextual, inspirada en los trabajos de Julia Kristeva (1967), Jacques Derrida (1971) y Roland Barthes (1987). Estos autores utilizan la intertextualidad para dar cuenta de los múltiples juegos de lenguaje presentes en la cultura. ...
RESUMEN En el presente artículo se analiza el proceso de subjetivación de la masculinidad de un hombre joven del norte de Chile. El caso de " Hombre Constelación " se inserta en una investigación que buscó conocer cómo significan sus masculinidades jóvenes de 15 a 23 años socializados en un escenario cultural androcéntrico, patriarcal y heterosexista. La investigación es de tipo cualitativa y utiliza el modelo de mapas corporales. Este modelo se inscribe en el enfoque biográfico, utilizando análisis intertextual desde supuestos de la epistemología feminista para dar cuenta de la dimensión corporeizada de la socialización de género. Entre los hallazgos más relevantes se constata que el modelo de masculinidad de " Hombre Constelación " esta dado por una compensación entre el rechazo hacia una corporeidad disminuida y la exaltación de atributos propios de una masculinidad heteronormativa tales como la racionalidad y la virilidad, no existiendo así apertura hacia un modelo transformador en cuanto a las relaciones de género. PALABRAS CLAVE: Corporeidad, jóvenes chilenos, socialización de género, subjetivación de la masculinidad. ABSTRACT In this article it´s showed in depth a case about the process of subjectivation of masculinity of a young man in northern Chile. "Man Constellation" case is inserted in an investigation that sought to know how young men between 15 to 23 years old live their masculinities in an androcentric, patriarchal and heterosexist cultural scene. The research is qualitative and the methodological model used is body maps. This model is a biographical approach, it use intertextual analysis from feminist epistemology to account the embodied dimension of gender socialization. Among the most important findings is found that "Man Constellation´ " model of masculinity is given by a trade off between the rejection of a diminished corporeality and the exaltation of heteronormative masculinity attributes such as rationality and virility, there being no opening to a transformer model in terms of gender relations.
Accesibilidad, traducción y nuevas tecnologías es un volumen académico esencial en el que se presentan nueve interesantes artículos escritos por expertos en los campos de la accesibilidad y la traducción. Esta completa colección ofrece análisis académicos rigurosos y perspectivas innovadoras sobre la lectura fácil, la accesibilidad lingüística legal, los enfoques educativos del subtitulado para el público sordo y con discapacidad auditiva y la intertextualidad en la audiodescripción. Cada artículo ofrece una exploración en profundidad y soluciones prácticas, lo que convierte a este volumen en un recurso inestimable para investigadores, profesionales y estudiantes, preparado para hacer avanzar significativamente el mundo académico y la práctica en estos ámbitos dinámicos e interrelacionados. This is a scholarly volume featuring nine insightful articles authored by experts in the fields of accessibility and translation. This comprehensive collection offers rigorous academic analyses and innovative perspectives on easy reading, legal linguistic accessibility, educational approaches to subtitling for Deaf and Hard-of-Hearing audiences, and intertextuality in audio description. Each article provides in-depth exploration and practical solutions, making this volume an invaluable resource for researchers, practitioners, and students, poised to significantly advance academic and practice in these dynamic and interrelated domains.
Актуальність пропонованої студії зумовлена потребою схарактеризувати прецедентні феномени в сучасній українській поезії про війну, які належать до важливих складників національної культури й мовної картини світу та відображають специфіку національної свідомості і ставлення етносу до власної історії та культури. Мета статті – проаналізувати явище прецедентності в сучасній українській мілітарній поезії. Для з’ясування особливостей функціювання прецедентних феноменів застосовано загальнонаукові та спеціальні лінгвістичні методи, зокрема лінгвістичний опис мовних фактів, герменевтичний метод, структурний метод, представлений методикою трансформаційного аналізу, метод спостереження.Визначено, що в контексті явища інтертекстуальності прецедентні феномени демонструють специфіку їх реалізації у формально-змістовому та функційному виявах, є наслідком взаємозв’язку національної когнітивної бази, мови та культури. Окреслено основніфункції прецедентних феноменів у художній літературі, зокрема, акцентовано на номінативній, характеристичній, експресивній, прагматичній, парольній та ігровій функціях.За рівнем прецедентності виокремлено й проаналізовано соціумні, національні та універсальні прецедентні феномени, використані в сучасній воєнній поезії. Диференційовано декілька груп за джерелами запозичення: прецедентні феномени літературного, міфологійного, біблійного, фольклорного походження, прецедентні феномени, повʼязані з іншими видами мистецтва (музикою, живописом, кінематографом), історичні прецедентні феномени, що пов’язані з конкретною історичною особою або з подією.Наголошено, що формою вербалізації прецедентних феноменів є прецедентні одиниці.Прецедентні феномени актуалізовано через звернення до прецедентної ситуації, прецедентного тексту, прецедентного імені, прецедентного вислову чи їх поєднання.Аналіз фактичного матеріалу засвідчив наявність трансформованих прецедентних одиниць, що розширюють межі індивідуально-авторської думки, урізноманітнюють стандартизовані мовленнєві формули, надаючи їм більшої експресивності, спричинюють ефект руйнування очікування й водночас породження нового змісту.
The Cambridge Critical Guide to Latin Literature offers a critical overview of work on Latin literature. Where are we? How did we get here? Where to next? Fifteen commissioned chapters, along with an extensive introduction and Mary Beard's postscript, approach these questions from a range of angles. They aim not to codify the field, but to give snapshots of the discipline from different perspectives, and to offer provocations for future development. The Critical Guide aims to stimulate reflection on how we engage with Latin literature. Texts, tools and territories are the three areas of focus. The Guide situates the study of classical Latin literature within its global context from late antiquity to Neo-Latin, moving away from an exclusive focus on the pre-200 CE corpus. It recalibrates links with adjoining disciplines (history, philosophy, material culture, linguistics, political thought, Greek), and takes a fresh look at key tools (editing, reception, intertextuality, theory).
Throughout the 16th century the increase in scientific production forces some authors to create models based on previous scientific works. These reuses, that include patterns of intertextuality and hypertextuality, is what I analyze from a linguistic point of view. How a scientific tradition, that which has to do with twilights, reached the end of this century, when the German Christophorus Clavius (1538-1612) inserted in his In sphaeram loannis de Sacro Bosco Commentarius a booklet entitled Digressio geometrica de crepusculis, whose pattern is De crepusculis by the Portuguese mathematician Pedro Nunes (1502-1578), who had already included in his 1542 work the literal transcription of the Liber de crepusculis by Gerardo de Cremona (1114-1187), a Latin version of the Maqala fi l-fayr wa-l-safaq from Ibn Mu'ad al-Gayyani (d. 1093).
This chapter presents an analysis of the main problems and challenges related to teaching and learning Chile’s recent history. This analysis relates the authors’ experience with theoretical production in the context of a transitional society characterized by post-conflict. The emergence and relevance of the typical matters of teaching recent history are based on a dialogue among disciplinary perspectives including the New Social History, theorizations about memory as an interdisciplinary category, and the materialization of the secondary students’ historical learning through their narratives of the past. The discussion of memory and history are contextualized within the Hispano-American context, particularly in the Southern Cone of the continent. The chapter follows a socio-cultural theoretical perspective along with the theoretical contributions from an analysis of historical awareness. The findings describe historical explanations of Chilean students, which allow them to understand the present and recognize intersection points among their narratives and the reference frameworks established by a dominant national curriculum.
Abstract Chitin production processes involve highly polluting treatments, current studies have shown the use of biological methods gave better results because it preserves chitin structure. In this work, chitin was obtained from Agaricus bisporus and Procambarus clarkii following friendly environmental alternative procedures, through a sequential process based on the use of proteases, glucanases. Transformation of microfibrils into nanofibers was accomplished dissolving amorphous regions followed by acid disruption. The chitin concentration determined as N-acetyl glucosamine is 83 ± 1.8% and 80 ± 2.4% for A. bisporus and P. clarkii, respectively, being a good-quality chitin, similar to the commercially available one. Finally, highly uniform, approximately 8 nanometer-wide chitin nanofibers were obtained, which still maintained their original chemical and crystalline structures. The product can be used for industrial applications in pharmacy, cosmetics, agriculture, and wastewater treatment.
The reintroduction of genres in late twentieth-century concert music, as well as the diversification of intertextual procedures, resulted in an intense debate regarding their aesthetic and historical orientations. The article analyzes two works by the Argentinean composer Oscar Strasnoy: Sum, four pieces for symphonic orchestra (2005-11); and Trois caprices de Paganini (2011), a concert for violin and orchestra. It is proposed that the appeal to history is inscribed in this case in a late-modernist orientation, as an aesthetic nominalism that detaches the works from their contexts (historical or stylistic), identifying elements of modernity in expressions of the past that enter into a dialogue with contemporary musical thought.
Currently, there is no doubt about the availability of expressive means in the texts of scientific content. The aim of the paper is to analyze aesthetics means in scientific texts due to the author’s individuality and dialogical nature of scientific communication. The research materials are Spanish scientific articles and theses. The findings are discussed regarding the idea that there is a common intertextual space between the text created by the author and other texts that made up the author’s cultural and scientific experience. The conclusion is made that besides the traditional functions of intertextuality in the scientific text there is an aesthetic function.
The objective of this article is to contribute to sex education with a methodology that facilitates subjective expression through the body in its different experiences. For that, we propose an intertextual model of sexual self-care that focuses on gender and rights. This work strategy stimulates the emergence of meanings and discourses embodied in a protagonist’s body. These procedures are applied in interactive workshops, where the experience narrated, written and graphed on one’s own body and sexuality is articulated. Based on this amalgam, a body map is drawn that illustrates a geography of interpersonal relationships. In the process, the importance of gender mandates, coming from meaningful figures, is understood. From these findings it is possible to self-analyze experiences that emerge from the intrapsychic levels weaved with sociocultural and emotional experiences, which opens opportunities for the deconstruction of hegemonic positions. The relationship that develops between the person who produces the intertextual map of the body and the person who orients the process is dialogical in that the notions of authorship, agency and subjective autonomy are recognized, which increases the possibilities of redefining gender’s position in social relationships and provides a strategy for educational programs considered from the protagonist’s perspective. It is concluded that this model facilitates the process of corporeal self-care in that it strengthens autonomy through the recognition of authorship and agency, strengthening the redefinition of a gendered position in social relationships, providing a strategy for educational prevention programs and the promotion of sexuality.
Con el giro del pensamiento contemporáneo hacia la cultura textovisual y multimedia, los géneros literarios, también el microrrelato, se expanden más allá de lo escrito en unas creaciones simbióticas en las que texto e imagen pueden ser contemplados de un solo golpe de vista en una unidad perceptiva. Partiendo de las estrategias narrativas que confluyen en ambos lenguajes y de la formulación conceptual de microrrelato hipermedial, se analiza la interacción de los componentes verbales y visuales (en concreto, fotográficos) en los microrrelatos que Patricia Esteban Erlés ha publicado en Facebook. El universo imaginario fantástico de estas miniaturas narrativas se reviste en la red de una gran densidad semiótica, que multiplica las redes de significación narrativa. En ese orden de ideas, se estudia la interacción que entablan los imaginarios de Patricia Esteban Erlés y Diane Arbus en torno a lo monstruoso y siniestro.
D’Annunzio’s relationship with Goethe presents itself as a case of intertextuality. A hundred years after the publication of the Römische Elegien , d’Annunzio composes a poetry collection with the same title that in several places refers to the German text. Quotes are also found in the Chimera and in Il piacere .
This paper focuses on three chapters about captain Yegorov and Katya Lugina in Sergei Dovlatov’s novel entitled Зона (The Zone: A Prison Camp Guard’s Story). The intertext shown and discussed in the paper suggests that the three chapters may be viewed as a ‘modified version’ of Ernest Hemingway’s WWI novel A Farewell to Arms. We then use the intertext as the basis for the discussion of Dovlatov’s dialogue with Hemingway and the value of Hemingway’s personality and works for Dovlatov. We analyze two aspects of Dovlatov’s dialogue with Hemingway: (1) Dovlatov’s emotional response to Hemingway’s novel and (2) Dovlatov’s contemplation of esthetics of art. In the end, we discuss the notion of tradition in connection with Dovlatov’s dialogue with Hemingway.
Narratology: An Introduction' provides an introduction and overview of Narratology, a rapidly growing field in the humanities. Literary narratologists have provided many key concepts and analytical tools which are widely used in the interdisciplinary analysis of such narrative features as plot, point of view, speech presentation, ideological perspective and interpretation. The introduction explains the central concepts of narratology, their historical development, and draws together contemporary trends from many different disciplines into common focus. It offers a compendium of the development of narratology from classical poetics to the present.
This article proposes to sketch a methodological basis for an intermedial analysis of voice in its sonic, performative and embodied, semantic and audiovisual dimensions. The voice is at once an individual acoustic “identity card” of the singer and a means of linguistic expression, as well as being in a more or less metaphorical way used to describe strategies of representation in the political and semiotic sense of the word. Thus, analysing the voice as understood here is not only about singing, but as well developing the category “voice” for analysis itself.
La intención de este artículo no es otra que la de exponer, teóricamente, una serie de inquietudes en torno a la ironia, tan usual en los textos escritos, las conversaciones y, sobre todo, en la actitud general del latinoamericano ante las distintas facetas de la vida. Ese juego afectivo/intelectual como forma retórica, como medio humorístico, como defensa emotiva (catarsis), produce una actitud crítica característica que se manifiesta de muy diversas formas, una de ellas, el llamado "choteo" que se practica en Costa Rica.
Postmodern advertising is based on the usage of postmodern conditions in
communication with consumers. Every condition has its several manifestations
which could be identified on verbal, audio or iconic level of interpretation.
In this paper, lexical, syntactic and rhetoric features of Italian
advertising slogans were analysed in the context of decentring, a postmodern
condition constructed on Derrida's idea of decentralization, method of
deconstruction and intertextuality.
Se propone un breve recorrido por los aportes de los principales teóricos que influyeron en la conformación de campos de estudio desde los horizontes de la sociología de la literatura y las sociocríticas, con énfasis en los puntos de ruptura entre estas disciplinas y los desarrollos que estas trajeron. Finalmente, se introduce un nuevo desarrollo que se nutre de las dos: la estética sociológica, como un horizonte para la investigación literaria que entiende la literatura en relación con tres dimensiones en las que se arraiga: la lengua, el individuo y el grupo, con especial atención a su particularidad estética.
The aim of the article is to establish which the features of egotistic literature are. In order to achieve such a purpose, the article presents a typology of the genre and describes its main types of works: a) autobiography and memorialistic prose; b) journals, personal diaries, cards and cahiers; c) biography; and d)life stories. Bearing this in mind, the article suggests a theoretical basis for this particular kind of narratives. At the end, the article presents five conclusions:1)alterity is always present in biographical narratives; 2) biographical narratives are expressions of experiences; 3) biographical narratives provide some unity to plurality; 4) egotistic literature configures itself in an imaginative and fictional form; and 5) biographical narratives configure themselves in a temporal form.
Neste artigo pretendo discutir uma das figuras da linguagem musical do compositor italiano Salvatore Sciarrino: a forma em janelas. Após definir esta figura da maneira como o compositor a explica, procurarei mostrar que, na composição, as janelas podem se abrir tanto para dentro quanto para fora do discurso musical. De um lado, elas apontam para um ambiente interior da composição, constituindo uma remissão interna. De outro, provocam o ouvido a compreender a referência externa, construindo uma intertextualidade. A partir da janela para fora, tratarei de técnicas de distorção, particularmente daquela que chamo de nublamento. Nas conclusões retomarei a questão da memória e da composição enquanto modelação do tempo.
Writing his work, Sebastian had to confront a world thrown into history in the making, being forced to see what was happening around him, namely to privilege the sight and the entelechy which it animates. We almost dare to say that only in this manner - through a terrible aggression against the sight - Sebastian had the possibility to reflect, in his intimist writings, the contingent reality, for himself and for the others, with minimal styling effects. On the other hand, Sebastian’s texts reveal a purely phenomenological intention of the author. Thus, the author is no longer using the pen to fill with meaning a state of the facts or to transform everyday fiction into a significant dramatic discourse. In his case, the emphasis is on a continuous present and on the ontological message of the ideas, we would say, on the message which was freed from constraints of the past or future aspirations. Thus, Sebastian gives the events total freedom to express themselves - to utter themselves! -, with all the risks and the mortifying consequences of the decision taken. Sometimes the author reaches hidden humour areas, such as the one practiced by Pirandello.
This study describes and analyzes the Seminar dedicated to “Children’s Literature and Advertising” in the context of the Multimodal Reading for the subject Children’s Literature Teaching in the third year of the Degree in Primary Education. Specifically, we study five ads related to car brands whose intertext is represented by children’s stories. Mendoza Fillola’s notion of “reading literacy” or “intertext reader”expands on that of “multimedia competition”, because the advertisements emphasiseiconographically secondary elements in the tales and transform them into main aspects. The analysis shows the metamorphosis which texts such as Cinderella , The Ant and the Grasshopper , Snow White , The Tortoise and the Hare and the character of Gulliver suffer in advertising marketing.
When we look into the classical Confucianism for its interest in art and aesthetics, what immediately comes to our attention is its emphasis on music and poetry, as shown in the fact that both the lost Yuejing 樂經 (Classics of Music) and the Shijing 詩經 (Classics of Poetry) were regarded as belonging to the six fundamental Confucian Classics, liujing六經. It is also confirmed in the recently unearthed Kongzi Shilun 孔子詩論 (Confucius on Poetry) and the Xing zi ming chu性自命出 (Nature comes from Mandate). This chapter will focus on the philosophical issues of music (yue) as discussed in the recently unearthed Xing zi ming chu, in reference to the Yueji樂記 (“Record of Music”) chapter in the Liji禮記 (Book of Rites).
In this study Cahit Sıtkı Tarancı’s, who is a wellknown, most studied, most read
artist in his time and now in Turkish Literature of Republic an period, one poem, one
translated poem of Paul Éluard, three articles of his feelings and thoughts about Fethi
Giray, Memduh Şevket Esendal and Paul Éluard are criticised by publishing which are
identified they were not taken place in boks collected from newspapers and journals when
he was alive or after his death.
Bu çalışmada Cumhuriyet Dönemi Türk edebiyatının hakkında pek çok çalışma
yapılmış, gerek döneminde gerekse günümüzde sevilerek okunan, ünlü isimlerinden
Cahit Sıtkı Tarancı’nın hayatta iken neşrettiği ve ölümünden sonra gazete ve dergilerden
toplanarak kitap hâline getirilen şiir ve düz yazılarının dışında kalan bir şiiri, Paul
Éluard’dan çevirdiği bir şiir; Fethi Giray, Memduh Şevket Esendal ve Paul Éluard’la ilgi
duygu ve düşüncelerini kaleme aldığı üç yazısı yayımlanarak değerlendirilmiştir.
En el presente artículo se analiza el proceso de subjetivación de la masculinidad de un hombre joven del norte de Chile. El caso de “Hombre Constelación” se inserta en una investigación que buscó conocer cómo significan sus masculinidades jóvenes de 15 a 23 años socializados en un escenario cultural androcéntrico, patriarcal y heterosexista. La investigación es de tipo cualitativa y utiliza el modelo de mapas corporales. Este modelo se inscribe en el enfoque biográfico, utilizando análisis intertextual desde supuestos de la epistemología feminista para dar cuenta de la dimensión corporeizada de la socialización de género. Entre los hallazgos más relevantes se constata que el modelo de masculinidad de “Hombre Constelación” está dado por una compensación entre el rechazo hacia una corporeidad disminuida y la exaltación de atributos propios de una masculinidad heteronormativa tales como la racionalidad y la virilidad, no existiendo así apertura hacia un modelo transformador en cuanto a las relaciones de género. In this article it´s showed in depth a case about the process of subjectivation of masculinity of a young man in northern Chile. "Man Constellation" case is inserted in an investigation that sought to know how young men between 15 to 23 years old live their masculinities in an androcentric, patriarchal and heterosexist cultural scene. The research is qualitative and the methodological model used is body maps. This model is a biographical approach, it use intertextual analysis from feminist epistemology to account the embodied dimension of gender socialization. Among the most important findings is found that "Man Constellation´” model of masculinity is given by a tradeoff between the rejection of a diminished corporeality and the exaltation of heteronormative masculinity attributes such as rationality and virility, there being no opening to a transformer model in terms of gender relations.
Inwiefern können aktuelle interdisziplinäre Praktiken zwischen Sozial-, Literatur- und Sprachwissenschaften dazu beitragen, das umstrittene Konzept „Identität“ zu überdenken? So lässt sich der Ausgangspunkt der deutsch-französischen Tagung für NachwuchswissenschaftlerInnen, die am 26. und 27. November 2015 am Centre Marc Bloch (Berlin) stattgefunden hat, zusammenfassen. Der einleitende Aufsatz wendet sich zuerst verschiedenen interdisziplinären Traditionen zu, bevor er mögliche Forschungsdesigns für die Analyse von Identitätskonstruktionen skizziert.
This article focuses on the analysis of El cerco oblicuo (1993), by Gonzalo Hidalgo Bayal. Through the study of the intertextual links that form the imaginery universe of this travel novel, we try to explain some of the thematic and stylistic key elements that are characteristic of the labryinthine and enigmatic construction of the author's narrative.
Mit Blick auf das eigene Schicksal als erfolgloser Autor hat es Robert Musil resignativ als »ein rechtes ontologisches Kunststück« bezeichnet, »erst auf seinen Tod warten zu müssen, um leben zu dürfen«.1 Die zynische Formulierung, mit der Musil seine persönliche Misere projektiv zu bewältigen suchte, bezeichnet treffend auch die wissenschaftsgeschichtliche Konjunktur des Autorbegriffs: So hat die poststrukturalistische Literaturtheorie den Begriff ›Autor‹ gemeinsam mit dem des ›Werks‹ Ende der sechziger Jahre rhetorisch wirkungsvoll verabschiedet, und dennoch sind beide Kategorien — freilich gewandelt — in der aktuellen theoretischen Debatte lebendiger denn je. Darüber hinaus erwiesen sie sich in der literaturwissenschaftlichen Praxis als unerwartet zählebig, was eine erneute theoretische Reflexion auch von dieser Seite her geboten erscheinen läßt.2
Dass ein Symposion unter das Thema »Autorschaft — Positionen und Revisionen« gestellt wird, zeigt an, dass der Begriff der Autorschaft zumindest erklärungsbedürftig, wenn nicht fragwürdig oder überhaupt problematisch erscheint. In der Tat haben die einander ablösenden Schulen literarischer Interpretation seit dem Russischen Formalismus, der explication de texte, der Stilforschung, dem New Criticism, dem klassischen Strukturalismus und auch noch der Rezeptionsästhetik den Schwerpunkt auf eine stark immanente Betrachtung des Textes gelegt, so dass die Instanz des intentionalen Autors zunehmend an Wichtigkeit und damit auch an Interesse verlor. Der Verzicht darauf, einen Diskurs über den Autor zu führen, trug in diesen Fällen freilich eher Züge der phänomenologischen Einklammerung, mit der man den Aporien und auch Naivitäten einer herkömmlichen — notwendig psychologisierenden — Analyse von l’homme et l’œuvre zu entgehen trachtete. Erst mit dem Auftreten und Erstarken sogenannter poststrukturalistischer oder (vielleicht besser) postmoderner Spielarten der Literaturforschung, die sich mit Etiketten wie Intertextualitätsforschung, Diskursanalyse, Dekonstruktion und neuerdings auch New Historicism verbinden, erhielt die Askese gegenüber der Kategorie des Autors ein neues Gewicht und ein neues Gesicht.
Wer einen Überblick über den neueren französischen Feminismus ab den siebziger Jahren geben will, kommt nicht umhin, zunächst über Hélène Cixous, Luce Irigaray und Julia Kristeva zu sprechen, so sehr dominieren diese drei Namen in einschlägigen Darstellungen. Sie sind jedoch keineswegs repräsentativ: in Paris ist der Egalitätsfeminismus, der an Simone de Beauvoir anschließt und von dem sich die drei Autorinnen vehement distanzieren, auch heute noch wesentlich stärker verbreitet (Perrot 1997, S. 154). Der trügerische Pars pro toto entstand in der US-amerikanischen Rezeption, die auf Europa zurückwirkte. Inzwischen wissen die amerikanischen Feministinnen, daß die Konfiguration, die sie »French Feminism« nennen, nur auf ihrem eigenen Kontinent existiert (Gallop 1993, S. 989f.). Hierzulande und andernorts, etwa in Lateinamerika (Galster 1997c), steht diese Aufklärung noch weitgehend aus.
In hermeneutischer Perspektive erscheint die Gattungswahl als vom Autor intendierte und insofern als Teil einer Aussage, die sich als Werkbedeutung konkretisiert.
We analyze the cultural references (film, pictorial, literary and musical) that permeate Campo de amapolas blancas, by Gonzalo Hidalgo Bayal (2008a [1997]). Our analysis is not only based on the formal and rhetorical perspective that imbues this work's narrative prosody, but as recreation of the intellectual and emotional debt contracted by the author with the cultural notions and ideals (philosophical and aesthetic) that condition the work. The alliance between thought and emotion permeates this brief and somber novel, which masterfully plays with an alter ego of the writer.
This paper presents the method of intertextuality conceived not in a general manner, but in its application to the biblical texts. After the concept of intertextuality is defined, the way of utilizing it in the biblical studies is explained, and its main types are pointed out (citations, echoes, allusions), the paper takes the so-called formula of grace that appears in Ex 34:6-7 as an example to which the method of intertextuality has been fruitfully applied, due to its recurrent presence through the entire Old Testament.
‘But what if the world is some kind of — of show! Don’t you understand me? What if, is all I’m saying!’1 This proposition, voiced — as much in hope as in fear — by the pathetic talent agent Milton Lippman in ‘On the Air’ (1970), concerns almost every Roth protagonist from Neil Klugman to Nathan Zuckerman: are we — to borrow the title of Neil Postman’s recent study of ‘Public Discourse in the Age of Show Business’ — amusing ourselves to death?2 As long ago as ‘Writing American Fiction’ (1960), Roth had explicitly suggested an affirmative response in lamenting the journalistic sensationalism surrounding the deaths of two teenage girls on their way home from an Elvis Presley movie.3 How unreal this tragedy had become, even to their mother, under the pressures of the popular media’s transformation of reality into show business. Roth’s fictions in the early 1970s struggle with the unrealities of mass culture, its commercialisation and trivialisation of America, its distortion of and antipathy to every American tradition of serious discourse.
This article re-examines the affinities and differences between the thought of Bakhtin and Benjamin. Both are important to that branch of contemporary philosophy which analyzes the destinies of the 20th century and belong to the present-day post-secular epoch. Both understand our world by reviewing our lived experiences, to find elements that help us evaluate it and provide an orientation for our present situation. There are similarities in the reception of their ideas. In Latin America, Bakhtin and Benjamin are frequently interpreted in a political sense and serve as a basis for thinking about historical events and the facts of contemporary culture. The works of Benjamin are more frequently published, disseminated, and commented upon than those of Bakhtin. The main focus of this article is to study how Goethe served as a catalyst or pivot for the particular illuminations of both thinkers. In this perspective, Bakhtin and Benjamin are seen as two communicating vessels, despite their differences on questions of language, the role that Kant plays in their thinking, or the texts that interested them. Bakhtin's materialistic conception of language is quite opposed to the messianic mysticism of Benjamin.
Children, Film and Literacy explores the role of film in children's lives. The films children engage in provide them with imaginative spaces in which they create, play and perform familiar and unfamiliar, fantasy and everyday narratives and this narrative play is closely connected to identity, literacy and textual practices. Family is key to the encouragement of this social play and, at school, the playground is also an important site for this activity. However, in the literacy classroom, some children encounter a discontinuity between their experiences of narrative at home and those that are valued in school. Through film children develop understandings of the common characteristics of narrative and the particular 'language' of film. This book demonstrates the ways in which children are able to express and develop distinct and complex understandings of narrative, that is to say, where they can draw on their own experiences (including those in a moving image form). Children whose primary experiences of narrative are moving images face particular challenges when their experiences are not given opportunities for expression in the classroom, and this has urgent implications for the teaching of literacy.
This theoretical paper refers to a methodological model of Body Maps as a strategy to create knowledge on corporeity in bibliographic research. This model approaches the body as a place through which the intersubjective construction path regulating the subject flows, allowing the textualization of subjective processes which, together with the traditional strategies of the bibliographic method, remain invisible as embodied semiotic-material languages. At an interpretational level, the paper deals with understanding the normative order of the body where aspects relative to psychosexual processes and gender models rooted in the culture articulate, along with the expression of transgression to current gender ideologies.
Shakespeare’s unique status has made critics reluctant to acknowledge the extent to which some of his plays are the outcome of adaptation. In Shakespeare’s Stage Traffic Janet Clare re-situates Shakespeare’s dramaturgy within the flourishing and competitive theatrical trade of the late sixteenth and early seventeenth centuries. She demonstrates how Shakespeare worked with materials which had already entered the dramatic tradition, and how, in the spirit of Renaissance theory, he moulded and converted them to his own use. The book challenges the critical stance that views the Shakespeare canon as essentially self-contained, moves beyond the limitations of generic studies and argues for a more conjoined critical study of early modern plays. Each chapter focuses on specific plays and examines the networks of influence, exchange and competition which characterised stage traffic between playwrights, including Marlowe, Jonson and Fletcher. Overall, the book addresses multiple perspectives relating to authorship and text, performance and reception.
This study starts from the observation of different relations of intertextuality and intermediality between language and arts, between language and culture in general, which require an intersystemic interpretation, that is to say, the use of multiple semiotic codes in the interpretation of a message. Regarding this last point, the necessity of making a critical revision of the concepts of intertextuality and textual competence arose, as well as of text and intertext, in order to redefine the dimensions of textual competence, framing it into a semiological competence. A proposal for a proper definition of the terms textual competence and intertextuality is formulated, and we elaborate a typology of intertextuality, based on previous studies. These concepts are observed in their relation between language and arts (painting, film, music, etc.), and their better use in the teaching/learning of languages is considered. The concept of culturemes as symbolic units of cultural communication that correspond to a language or a cultural area, and should form part of the communicative competence of the speakers of foreign languages, is included. The aim is to bring the multiplicity of semiotic codes that interact in the interpretation of a message to attention and, therefore, highlight the necessity of incorporating its teaching in the field of foreign languages. Increasing the level of intertextuality known by students of foreign languages would mean increasing their semiotic competence, enriching their socio-cultural competence and improving their interlanguage and interculture competence.
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