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... [4] Introduction discussed using such terms as delocation and relocation (Bernstein 1990); centering , decentering , and recentering (Hanks 1989); entextualization , decontextualization , and recontextualization (Bauman and Briggs 1990); intertextuality and interdiscursivity (Kristeva 1980;Fairclough 1992Fairclough , 2001Candlin and Maley 1997); reentextualization and text trajectories (Blommaert 2005). Th ese perspectives on textual travel are united by a desire "to understand the 'life' of . . . ...
... Th is dialogical principle means that text is constrained by emerging historical patt erns of text production ( genre ) but also that it can "play" with multiple, historically grounded voices ( heteroglossia ). In introducing Bakhtin's work to the West, Kristeva (1980) coined the term intertextuality to account for the inevitable connections between texts: no text can stand on its own but must inevitably, and oft en unwitt ingly, quote and refer to other previous texts. Foucault went so far as to say that "there can be no statement that in one way or another does not reactualise others" (1972: 98) while Derrida, more radically, described text as nothing more than a fabric woven from other texts: "Th is interweaving, this textile, is the text produced only in the transformation of another text" (Derrida [1972(Derrida [ ] 1981. ...
The opening chapter provides the theoretical and contextual background to the book and introduces the rationale for the sections and for the themes that re-occur throughout the papers. After a brief introduction to the notion of textual travel, it outlines some of the issues relating to the notion of ‘legal-lay’ or ‘lay-legal’ communication. It then explores in some detail the genesis of textual travel notions in the interdisciplinary research literature. Next it outlines the topics and themes explored in each of the four substantive sections: police investigation as textual mediation; the legal case as intertextual construction; judicial discourse as legal recontextualization; and crossing cultural and ideological categories in lay-legal communication. Finally, it considers the long travels of the book itself.
... Maternal subjectivity is one self-position experienced by women who are also mothers. Subjectivity is a sense of self that continues to develop throughout life, something Kristeva (1980) termed subjectivity-in-process. Various relational positions contribute to subjectivity, and certain occurrences and social interactions can cause this sense of self to feel disturbed to various degrees -giving birth can be one such event for women. Before, during and after this event, women are often defined in relation to their babies, both by themselves and others, reminding them of their own processes of separation from, and dependence upon their original maternal object. ...
... Intertextuality pays close attentions to the emergence of texts out of context as well as text's continuative existence and interaction within certain social and cultural texts. Kristeva (1969Kristeva ( , 1980Kristeva ( , 1986 believes that no literary text is written in a vacuum and text can never be cut apart from context, the larger cultural or social textuality where text is generated. When the writing subject is communicating with the addressee, their texts simultaneously communicate with the present and the past texts. ...
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.
... By offering such a blunt categorization, I am not intending to overlook, as so many of those involved in infancy research have, the profound importance of Laplanche's insight that the most crucially formative events of the pre linguistic years are probably not readily observable because they are enigmatic messages. Following a line of theorizing developed by Kristeva (1974Kristeva ( , 1975Kristeva ( , 1977aKristeva ( , 1977bKristeva ( , 2011Kristeva ( /2014, these might be thought of as signs (that is, a mode of semiosis that is proto-linguistic and not fully accommodated within the symbolic order). They are messages imposed upon the pre linguistic child, bombarding and impositioning him or her in a nexus of meaningfulness that is, for the child, libidinally formative, but inherently incomprehensible in the sense that such messages are unrepresentable in any sort of linguistically-structured form (Quindeau 2013). ...
Oedipality is generally understood as the individual’s journey through eroticized attachments with those performing maternal and paternal functions. This has evoked understandable resistance, and also unnecessary, yet sometimes scholarly, opposition. This paper briefly reviews the voluminous literature on oedipality, focusing on the resistances and objections it has evoked (mostly, but not entirely, from outside the psychoanalytic movement). Three suggestions are presented. First, debates over individual and cultural variations in family arrangements and styles of early caretaking occlude our understanding of the foundational basis of oedipality. Therefore, one should distinguish the metapsychology of “oedipality,” as universal and necessary to the formation of the human psyche, from the multifarious “oedipal complexes” that are contingent on variations in early experience. Second, this mandates greater expository emphasis on the individual’s processive “encounter” with the incest taboo, and less on the content of childhood relationships. Much evidence from ethnography and structural linguistics supports this. Third, Freud’s articulation of oedipality was not just a clinical-empirical finding, but followed from his discovery of free-associative praxis that necessitated the cardinal tenet of resistance-repression. In a foundational sense, the “repression-barrier” should be understood as the intrapsychic inscription of the incest taboo and a key universal feature of our humanity.
... However, I suggest that engagement with any one text is not necessarily sufficient to sustain "engagement with someone else's structure of thinking". My preference is to read, interpret, and criticize texts of all kinds intertextually, that is, in Julia Kristeva's (1980) terms, to understand how, in the production of meaning, "every text is related to every other text" (p. 36). ...
In ‘Consciousness and Complexity in “Waking Life”,’ Teresa Dobson and Tammy Iftody argue persuasively for interpreting Richard Linklater’s film, which deploys innovative animation techniques to portray discussions of theories of consciousness, from a complexivist perspective. They demonstrate how complexity theorizing might inform interpretive practices and recommend the film as a focus for discussion in humanities education. This response concurs with much of their analysis, but suggests that there are limitations to interpretive practices that focus on a single text, and argues for an alternative approach that deliberately foregrounds intertextuality – that is, interpreting any given text in terms of other texts. Examples of intertextual readings that produce multiple and unpredictable interpretations are provided, including interpretations of Waking Life’s intertextual relations with other films by Linklater, and with other visual and literary texts.
... The child represents, no longer an incomplete but an alternative epistemology. Ontogenetically, she is a subjective structure characterized by transformation -a paradigm for what Kristeva (1980), in describing the emergent post-modern self, called the "subject-in-process," or self as a pluralism of relationships rather than an "organization constituted by exclusions and hierarchies" ...
Selected essays in philosophy of childhood
... So the philosopher kings enforce their will on the 4 people through the army, just as a reified "reason" enforces its will on a polarized desire in the psychological economy of the individual. What results is, in the words 87 of Julia Kristeva (1987), an "organization constituted by exclusions and hierarchies" (Kristeva, 1987, p. 65; and see Kristeva, 1980). The first succinctly stated signs of the unraveling of this subjective organization in the superstructure appears in Freud's revision of subjectivity at the end of the nineteenth century. ...
Selected essays on theory and practice of philosophy for/with children.
... Kristeva 1980:237). As S. Thornham suggests (2013:9) it is difficult to reconcile Julia Kristeva's (1980) account of cells that 'fuse, split and proliferate', of tissues that 'stretch' and body fluids that 'change rhythm, speeding up and slowing down ' (1980:237) with a Cartesian subjectivity that underpins so much contemporary neoliberal philosophy. As feminist scholars argue (see also Battersby 1998;Hirsch 1992), the embodied, lived, corporeal female subjectivity is at odds, then, with a 'free' and 'autonomous' neoliberal subject, who is the fantasy -interestingly and obviously -of both gendered subjectivity and technology (as I detail later). ...
Gender and Digital Culture offers a unique contribution to the theoretical and methodological understandings of digital technology as inherently gendered and classed. The silences within, through and from the systems we experience every day, create inequalities that are deeply affective and constitute very real forms of algorithmic vulnerability. The book explores these lived and mundane algorithmic vulnerabilities across three interrelated research projects. These focus on recent digital phenomena including sexting, selfies and wearables, and particular decision-making systems used in health, education and social services. Central to this book are the themes of irreconcilability and the datalogical. It makes the case that feminism and gender politics have become increasingly irreconcilable with not only long-running debates around representation and embodiment, but also with conceptions of the technological, conceptions of the user and of the systems themselves. In keeping with longstanding feminist scholarship, these irreconcilabilities can be productive and generative; they can be used to interrogate the power politics of digital culture. By studying the lived and routine elements of digital technologies, Gender and Digital Culture asks about the many convolutions that are held together through the everyday use of these technologies, and the implications for how gender and technology are approached, discussed and theorised.
... Julia Kristeva's attempt to combine Saussurean and Bakhtinian theories of language and literature produced the first articulation of intertextual theory. Kristeva [2] points out that a given text is "a permutation of texts, an intertextuality: in the space of a given text, several utterances, taken from other texts, intersect and neutralize one other". Intertextuality in its simplest definition is based on the commonsensical notion that texts are influenced by other texts. ...
... Bakhtin's conception of the 'literary word' allows for an intersection of textual surfaces rather than fixed meaning. The literary text is thus in dialogue with several writings: that of the writer, the addressee (or the character) and the contemporary or earlier cultural context (Kristeva, 1980). This intertextuality reflects the relation each text has with texts surrounding it. ...
In the global communicative landscape of the digital age, researchers and educators need a more nuanced understanding of identity creation. This paper analysed how fan fiction writers create representations of identity in their personal profiles in the fanfiction. net archive site. Specifically, I assessed whether traditional racial/ ethnic categories are relevant and/or applicable in a fan fiction community and examined what we learn from fan fiction writers' representations of their own identity that could inform and expand how multicultural education considers the diversity of individuals and groups. The study drew on an electronic corpus of 45 user profiles chosen randomly from fanfiction.net and applied a cultural discourse analysis framework (CuDA) to this set of data. The results indicated that rather than fitting into specific racial/ethnic categories, the discursive practices of these fan fiction writers revealed portraits of self that were much more unique, elaborated and meaningful to their personal identities. Consequently, I argue that the real challenge for multicultural education is to develop a more complex understanding of the uniqueness of learners as individuals, welcoming their lives, relationships, memories, fantasies and desires specifically as well as how they connect or are connected to larger sociocultural groups.
... Understandably, police records and trial discourse are marked by a high degree of intertextuality (Matoesian, 2000, p. 879). Intertextuality refers to the inevitable connections between texts (Kristeva, 1980, cited in Rock, Heffer, & Conley, 2013). References to police records are often made in the courtroom to confirm or refute and contest what has been said earlier. ...
... A fundamental assumption that governs the study of English and the study preparation of English teachers is that "the subject of English is always the site of subjectivity" [1]. As used here, subjectivity refers to the process of the production or the making of the "thinking, speaking, acting, doing or writing agent" [2], that is, the human subject. Here, it is necessary to emphasize both process and production, as these claims about human subjectivity make the work of teaching English possible. ...
... In this sense, any text will address not only the reader, but also the network of other texts with which it interacts, as one voice among a background of many existing voices (Bakhtin, 1981). This interaction among texts has been termed "intertextuality" (Kristeva, 1980), and references the relational nature of meaning-making, and the multi-voiced nature of all texts. Due to the focus on relationships between texts, an instructional focus on intertextuality, in our view, has potential to afford transfer of textual knowledge in classrooms. ...
This article examines the effects of using intertextual theories to refine writing instruction in culturally diverse contexts, in terms of transfer of learning. Within a wider, two-year intervention study in six schools, four teachers were observed for a term each to describe how intertextual theories resulted in refinements to writing instruction their Year 4-8 classes. These effective teachers of writing redesigned their writing programmes to create intertextual support for their writers. The nature of the changes resulted in writing instruction which allowed for incorporation of students' textual knowledge as well as an explicit focus on future applicability of their learning. The observed teaching practices arguably offered students a greater degree of authority over their situated textual knowledge than might otherwise exist. The results of the study offer possibilities for writing instruction to build students' knowledge through text inquiry as part of writing lessons.
... Unsurprisingly, poststructuralists advise extreme caution in the interpretation of texts as such acts frequently favor dominant interpretive models, values or influential authors/thinkers, and frequently ignore the marginal (Kristeva 1980). Derrida's (1976) deconstructive method is a process that allows us to take apart the ways in which meanings are designed and put into operation. ...
In this paper I demonstrate that the study of language constitutes an effective platform for the sociological analysis of 'race' and 'crime.' I also establish that the study of justice-related language provides a powerful tool for the construction of a critical race criminology or the study of racism residing in the discourse about, and the practices of, what is termed the 'criminal justice system.' Specifically, I demonstrate that the study of language contributes to critical race criminology by demonstrating how everyday language (reality) not only criminalizes people of color, but also builds and maintains racist 'criminal justice system' discourses and practices, even while acknowledging the problem of 'race' in matters of 'crime' and 'criminal justice.' I determine that, while to some extent previous research has highlighted the potential of language studies to unmask the racism of modern 'criminal justice' discourse and 'criminal justice' practices, much work remains to be done. To demonstrate the latter arguments, I (1) present previous justice-related language studies in a critical race criminology light, and (2) suggest an agenda for future research that will employ justice-related language studies as a contribution to critical race criminology.
Corporate discourse offers a prime site for the study of interdiscursive performance across linguistic and cultural boundaries. However, there is a dearth of quantitative studies to assess cultural interdiscursivity in corporate discourse. Taking advantage of an LDA model and a dispersion formula, this study provides a corpus-based measurement of the interdiscursivity of corporate cultures as expressed within MD&A texts. The results demonstrate three distinct corporate culture types, namely technology-, resource-, and team-oriented cultures, which are expressed through subject terms, leading to strong culture enclave and culture blending effects. This article reveals the quantitative side of discourse and provides new insight into understanding how interdiscursive performance across linguistic and cultural boundaries is expressed in communicative practices.
With a book review published in the Argentine magazine El Hogar in 1937, Jorge Luis Borges was arguably the first author to introduce the Chinese classic Dream of the Red Chamber (红楼梦) to the Spanish-speaking world. By investigating Borges’s under-examined book review, this article starts with a comparative analysis of the German translation and Borges’s reception of Dream . First, I demonstrate how omissions and interpretations by the German translator Franz Kuhn contribute to Borges’s partial reading of this Chinese novel. Next, leveraging Gérard Genette’s concepts of transtextuality, my analysis situates Dream of the Red Chamber as a hypotext of Borges’s canonical short story “El jardín de senderos que se bifurcan” (“The Garden of Forking Paths”). I argue that “El jardín” not only inherits the narrative and philosophical essence of its Chinese source, but the figurative labyrinth created therein transcends Borges’s initial equivocations about the translated text. Ultimately, I contend that Borges’s ‘transreading’ of Dream of the Red Chamber shapes the crucial themes of dream and doubleness in his later works. Although the translator’s mediation results in Borges’s partial interpretation of the Chinese novel, the Argentine writer constructs a unique labyrinth – his philosophical and literary quintessence – in his creative rewritings and adaptations.
Toplumların bilimsel incelenmesi olarak tanımlanan sosyoloji ile edebiyat arasında kayda değer bir ilişki mevcuttur. 20. yüzyıl ile bilimsel bir yöntem olarak kabul edilen edebiyat sosyolojisi (literary sociology) edebi metinlerin anlaşılmasında okuyucuya somut göstergeler sunduğundan zengin bir çalışma kaynağıdır. Toplumun inançları, yazılı veya sözlü kanunları, yaşam tarzı, din olgusu, davranış biçimleri, siyasi hareketliliği, kültürü, dili ve olaylara karşı duygu ve düşünceleri edebiyata yansır ve bu bağlamda, metinleri sosyolojik yöntem ve kuramlar çerçevesinde yorumlamak mümkün olur. Bir edebi eserin sadece yazıldığı dönemi yansıttığı düşünülse de, bazı eserlerin yüzyıllar geçse de okuyucuda aynı etkiyi bırakabileceği olasıdır. Etkileyiciliğini yüzyıllardır kaybetmeyen Goethe’nin “Faust” hikâyesi, örneğin, farklı kültürlerde ve farklı dönemlerde tekrar gün yüzüne çıkmakta ve okuyuculara/izleyicilere aynı duyguları yaşatmaktadır. Alman edebiyatında çok kıymetli bir yere sahip olan ve diğer kültürleri de etkileyen Johann Wolfgang von Goethe’nin Alman sözlü anlatımından türeyen Faust (1806-1832) epik şiiri, metinlerarasılık bağlamında, kurgunun farklı dallarında yüzyıllardır canlandırılmaktadır. Evrensel mesajlar içeren Faust trajedisi 20. yüzyılda Thomas Mann’ın Doktor Faustus (1947) romanı ile karşımıza çıkar. Bu karşılaştırmalı analizin amacı, Aydınlanma Çağı sonrası Romantizm dönemini yansıtan Goethe’nin Faust hikâyesinin nasıl modern dönem Almanyasına uyarlandığını göstermektir. Bu kapsamda, çalışma, hem 19. yüzyıldan 20. yüzyıla kadar geçen dönemde gerçekleşen tarihsel olayların Alman toplumu üzerindeki etkisini hem de bu sosyolojik olayların Alman edebiyatındaki “Faust” efsanesine nasıl yansıdığını içermektedir. Çalışmanın karşılaştırmalı analizi ile yüzyıllar geçse de, Goethe ve Mann’ın okuyucularına “insanoğlunun zaafları yüzünden şeytanın oyunları karşısında zayıf olduğu” mesajını benzer şekilde verdikleri sonucuna varılmıştır.
Paratextual elements are significant for the construction of meaning in textual analysis. In this context, the role of paratextual elements in poetry translation, which are believed to be challenging or even impossible, is worth analyzing. Delving into the functionality and efficacy of paratextual elements, this study aims to unravel the translation choices within the light of paratextual uses in the field of poetry translation. Through the case study of Cem Yavuz’s translation of T. S. Eliot’s poetry, the study qualitatively analyzes the types of paratextual elements that are mainly provided at the notes section, the preface and a YouTube interview. Commenting on T. S. Eliot's poetic profile, Cem Yavuz emphasizes the concepts of dramatic monologue and objective correlative and bases his translation approach on these concepts. The findings acquired from the poem The Love Song of J. Alfred Prufrock reveal that paratextual elements such as religious, mythological, historical and technical notes are presented to enlighten the intertextual references, enhance reader engagement and awareness, and discover the authentic linguistic and emotional richness in the source. The examples extracted from the study show that the translator not only uses elegant language to sound poetic and natural, but also gives the paratextual elements a teaching role.
n the context of the Bible, reception history is about the inter-play of text and context. It is also about the capacity of stories to continue to be told, the practice of ongoing interpretation and about creativity and meaning making, often in ways that challenge the text/context divide. In exploring this challenge, I ask how a roughly drawn picture of Jesus as Ecce Homo from John’s trial scene (John 19:5), a piece of devotional art from 1940s Europe, might demonstrate the capacity of texts—John 19:5 and others—to act across a range of (loosely connected) contexts. How might diverse narratives—artistic, historical, ideological, biographical—engage with thought on reception theory and trouble the distinction between text and context, so as to demonstrate the surprising expansiveness of texts and textuality? When viewed via this picture, the words on the pages of canonical text are revealed to be dynamic, travelling through the cultural and devotional history of varying locations, times and epochs. These words are in a state of flux, continually being re-written, embellished upon and otherwise shaped and changed. Following their trails in connection with this picture of Jesus, I explore the complex qualities of story and textuality. These qualities have parallel implications for John’s Gospel, as an ongoing and increasingly tangled story of Empire, irony and ambivalence, a story that continues to play out in multiple, messy and often conflicting ways. Ultimately, to gather a number of narratives and to bind them within the frames of this picture becomes a way of demonstrating the slipperiness and even arbitrariness of historical reception. It elucidates the competing interests of context, scholarship and tradition, not to mention the ever-widening scope of possibilities for biblical textuality.
Considering sound as an always-mediated phenomenon creates a common ground for listening to novels, films, and radio dramas; especially since listening has been naturalised for encounters with radio dramas and films but may feel unusual when approaching (printed) novels. Indeed, this study proposes that there is no unmediated sound. This shifts the analytical focus from questions of fidelity, authenticity, accuracy, and mimesis to an analysis of aesthetics. As with reading, listening is a skill and a cultural technique. Inspired by J. Martin Daughtry’s concept of layered listening, this study offers its own six layers of listening to sound in fiction that guide, structure, and enrich this investigation. Specifying what to listen for invites a shift from the question of if one can write about sound to how one can write about sound because this chapter demonstrates that writing about sound has to mean writing about listening to sound. This study combines a technical analysis through sound-specific vocabulary and precise description with conceptual metaphors extrapolated from the works of art. Drawing on the expertise of literary studies, the study uses the heuristic qualities of metaphors to gain new sonic knowledge.
The aim of this study is to discuss Murakami Haruki’s novel Killing Commandatore (Kishidanchou Goroshi) in terms of transtextuality and analyze the allusions and intertextual references in Murakami’s narrative. This study argues Murakami’s novel Killing Commendatore adopting Gennette’s framework of transtextuality and his theory of metalepsis as well as utilizing the term “mise en abyme” which was characterized by André Gide. Killing Commendatore has considerable amount of intertextual relationships with Mozart’s opera Don Giovanni, Fitzgereald’s novel The Great Gatsby, Carrol’s novel Alice in Wonderland and Akinari’s story Fate over Two Generations and these intertextual bonds add complexity to the literary work while blurring the borderline with fiction and reality. The Commendatore in Don Giovanni Opera reveals itself in metadiegetic level both in the novel and the painting in the novel, creating metalleptic effect and this leads to the violation of the narrative boundaries.
Las situaciones de crisis colectiva, como las provocadas por las guerras y las catástrofes naturales, suscitan la activación de un extenso imaginario visual que permite la articulación del relato de la tragedia. Por medio de tropos visuales prestablecidos, los medios de comunicación dan forma y establecen la narración de los acontecimientos aprovechando el potencial tanto simbólico como narrativo de esas historias visuales que se han mostrado eficaces anteriormente. La singularidad de la covid-19 ha permitido la gestación de nuevas metáforas visuales que, si surten efecto, se incorporarán al inventario del que se nutre la prensa. En esta investigación se presenta, por medio del estudio de caso y las entrevistas la creación de un tropo fotográfico que hemos nombrado el tropo de la resiliencia. El análisis ha permitido detallar el proceso de asentamiento de un conjunto de motivos visuales que, de forma recurrente, los distintos autores han replicado, añadiendo en cada nueva instancia que realizaban, nuevos elementos que ampliaban su significación. Los medios de comunicación han acogido con entusiasmo el nuevo tropo y lo han añadido rápidamente al flujo informativo. El tropo de asentará definitivamente si, en futuras situaciones de crisis, es nuevamente recuperado y utilizado
The main aim of this paper is to demonstrate that the vibrancy and multidimensionality of Hemingway’s work lies in its dialogic nature. In the light of the above-mentioned, referring both to Kristeva’s notion of intertextuality and Genette’s concept of paratext, the paper constitutes an attempt to bring into focus a dynamic network of interactions, which manifest themselves at the level of the text’s structure and meaning. Correspondingly, an outgoing dialogue between Spanish and American culture, between the factual and the fictional, between the articulated and the unsaid, should be viewed as breeding ground for the reader’s role in the negotiation and co-creation of meaning. As a result Death in the Afternoon becomes something more than just a manual on how to look at the bull fight. With its internal diversification, the text becomes a chance of meeting, a carnivalistic space opened for an ongoing dialogue and interaction between the elements both internal and external to the text, inviting the reader to immerse fully into a constant and always relevant conversation between writing styles, forms of artistic expression and culture.
Julia Kristeva was born in 1941 in Bulgaria. She was educated by French nuns, studied literature and worked as a journalist before going to Paris in 1966 to do graduate work with Lucien Goldmann and Roland Barthes. While in Paris she finished her doctorate in French literature, became involved in the influential journal Tel Quel, and began psychoanalytic training. In 1979 she finished her training as a psychoanalyst. Currently, Kristeva is a professor of linguistics as the University of Paris VII and a regular visiting professor at Columbia University. In addition to her work as a practicing psychoanalyst and her theoretical writings, Kristeva is a novelist.
Este artigo explora o filme de 2011 de Lynne Ramsay, Temos de Falar Sobre o Kevin, no contexto daquilo que foi designado “novo mamaísmo” e à luz dos principais debates feministas sobre representação materna, genealogia matriarcal, produção cultural feminista e melodrama clássico e contemporâneo. O “novo mamaísmo”, argumentaram os críticos, constitui um regresso pós-feminista à imagem idealizada da feminilidade doméstica que dominou a América dos anos 50 do século XX. A diferença é que a maternidade intensiva é, agora, vista como uma escolha iluminada da mulher livre, um argumento que permite mascarar a centralidade continuada de um dualismo de género que determina, quer as nossas estruturas institucionais, quer as nossas fantasias públicas. Defendendo que o filme de Ramsay deve ser visto como sendo parte de uma tradição feminista de realização cinematográfica que sujeita a uma reapreciação crítica, quer estas fantasias públicas, quer a forma do melodrama materno em cuja corporalidade se encontram normalmente inscritas, o artigo analisa pormenorizadamente a exploração, pelo filme, das questões de identidade feminina, agência e controlo. Ao contrário do que acontece com os seus antecessores, defende-se, Ramsay convida-nos a habitar a subjetividade fraturada, o ódio e o sentimento de culpa da mãe nesta exploração. Embora não exista, como afirmou Ramsay, uma “redenção” fácil no final do filme, o seu fim leva-nos para além das fantasias gémeas do masoquismo materno pós-feminista e da agência feminista não problemática, no sentido de uma possibilidade de subjetividade que poderá aceitar, mais do que negar, o incontrolável desarranjo da corporalidade materna.
Metinlerarasılık kavramı, kökenini Bakhtin’in söyleşimcilik düşüncesinden alır. Bakhtin’e göre her anlam bir yanıtla doludur ve konuşan kişi, konuştuğu konu hakkında konuşan ilk kişi asla değildir. Bu yaklaşım dünya hakkında ortaya koyduğumuz her yargının açık uçlu olduğu ve her iddianın da doğası gereği söyleşimsel olduğunu öne sürer. Kristeva, Bakhtin’in söyleşim kavramını, onun metin merkezli yaklaşımına bağlı kalarak ama tarihsellik vurgusunu gözardı ederek, metinlerarasılık kavramıyla karşılar. Kristeva açısından her metin bir alıntılar mozaiğidir. Bu durumun sonucu olarak, metnin anlamı, başka metinlerden kendisine taşınan açık uçlu bir anlamdır. Sinema açısından bu kavram, kuramsal bir okuma açısından çok elverişlidir. Nitekim her film başka filmlere göndermelerle doludur ve belki de kendi değerini sinemanın mirasına bu göndermelerinden edinir. Birçok açıdan sinemanın seyrine etki eden bir film olarak Matrix, bu yaklaşımı birçok anlamda içinde barındırır. Baudrillard’ın üst gerçeklik düşüncesinden, Platon’un Mağara Alegorisine, Kartezyen düşünceden çağdaş nöröfelsefe yaklaşımına kadar birçok felsefi gönderme içerir. Biz bu çalışmada, metinlerarasılığın kuramsal çerçevesi içerisinde Matrix’i Hegel’in efendi köle diyalektiği ve mutsuz bilinç kavramları bağlamında değerlendirerek, Matrix’in arkasında bulunan düşünsel alanın bir kısmını göz önüne çıkarmaya çalışacağız.
This article examines seventeen children poems by Sylvia Plath written in the years 1960-63, in relation to the poetics of romantic love. Drawing on motherhood studies (Klein, 1975; O’Reilly, 2010; Rich, 1976; Winnicott, 1956, 1965, 1967), the maternal shift in psychoanalysis (see Bueskens, 2014: 3-6), and attachment theory (Bowlby, 1950, 1969, 1988), it reads love as a continuous human disposition, informed by one’s attachment history, and realized at different stages of one’s life (Hazan & Shaver, 1987). It specifically refers to Daniel Stern’s and Anthony Giddens’s largely overlapping concepts of maternal and romantic love to argue that Plath’s children poems are significantly infused with a poetics of romantic love. This poetics, however, becomes gradually compromised by a poetics of ambivalence, withdrawal, and self-effacement.
A critical introduction to the major traditions of feminist theory, now with new considerations of existential feminism and a conclusion reflecting on the future of feminist theory.
Existing research on communication on Twitter has largely ignored the question of how users make sense of the fragmentary tweets with which they are presented. Focusing on the use of Twitter for political reporting in post-revolutionary Egypt, this article argues that the production of mental stories provides readers with a mechanism for interpreting the meaning of individual tweets in terms of their relationships to other material. Drawing on contemporary narratology, it argues that Twitter exhibits key elements of narrativity, but that a creative reading process is nonetheless required to transform this incipient narrativity into coherent, sense-making mental narratives. This foregrounding of the reader’s creative role makes stories on Twitter highly fluid and dynamic. Through reference to classic critical theory, I propose that this nonetheless represents an evolution rather than a radical break from earlier forms of narrative reception, which in many cases demanded similarly creative reading practices.
Jean-Louis Schefer's newly translated The Ordinary Man of Cinema (2016), originally published in 1980, proposes a singular account of the experience of cinema which departs from the principal tendencies of film theory. It has nevertheless had a profound if somewhat invisible influence in film philosophy and theory since its publication, notably in the work of Gilles Deleuze. This essay proposes a synthetic discussion of Schefer's work on film up to The Ordinary Man, arguing that Schefer's work, which draws on his earlier work on painting, construes film as radically non-representational, and as bringing into being, in the spectator, a virtual affectivity corresponding to the distorted and disproportionate bodies and aberrant movements that it presents. I argue that in its recurrent emphasis on the “inchoate” elements in film, and on the “inceptions” of movements that it provokes, Schefer's thought draws implicitly on the Bataillean notion of the informe (formlessness). This return to an impossibility of thought at the heart of thought is among the fundamental insights which Deleuze draws from Schefer in Cinema 2: The Time-image.
The aim of this article is to advance a conceptual framework of ludification by separating out current thinking to incorporate two noninteractive cinematic areas—playful aesthetics and gameful narratives. Ludification is usually associated with the construction of ludic identities and cultural practices in the usage of new media or with application of game elements in nongame contexts known as gamification. This overlooks, on the one hand, the influence of cinematic aesthetics on computer games and, on the other hand, the extent to which play aspects and computer game elements imprint and transform the narrative compositional structures of modern cinema. The present study’s investigation will present an expanded conceptualization of ludification, classified by playfulness and gamefulness through interactive/noninteractive properties, aesthetic forms of expressions, and narrative compositions under the respective headings of gamification and cinemafication. These efforts unearth five traits of computer game influences on contemporary cinema presented under the headings, (1) play worlds, (2) ludified quests, (3) controller and interfaces, (4) play experience, and (5) game structure.
Originality and related concepts in N.P. van Wyk Louw’s work
This article investigates N.P. van Wyk Louw’s confrontation with originality and related concepts. Throughout his writing career, especially in his essays and public lectures, he attempted to clarify originality as "one of the most difficult concepts in literature". An outstanding feature of his research is that he repeatedly distanced himself from the Romantic view of the concept of originality. In stressing the importance of tradition he criticized the concept of “make it new” by substituting it with "acknowledged forms" from which a writer could work. The sole criterion is to ask whether a work of art is “good” and not whether it is “new”. Van Wyk Louw’s view of originality is closely related to intertextuality, but in contrast to many postmodernists, the "text" is of crucial importance to him. In the domain of literature one would say that Van Wyk Louw’s view of originality positions him essentially in line with the Esthetics of Identity.
Story and Plot: Fabula and SyuzhetOrderMimesis and DiegesisFree Indirect DiscourseInterior MonologueDiachronic and SynchronicIntertextualityDialogismChronotopeCharacter ZoneFocalizationNarrative CodesReading
The following article interprets resistant representational strategies of the feminine through animism based creative practices such as puppetry. Acknowledging critical issues at the heart of identity, representation and embodiment in South Africa today, the Feminine Semiotics of animism seek new pathways to imagining feminine form, theory and being. Liminality, multigeneity, leakage and perme-ability are key to understanding the embodied surfaces of the Feminine Semiotic as it arises in animist puppetry practices. Puppetry reveals itself as a sentient tool that simultaneously exposes the constructs of being whilst engaging in what could be described as a performative alchemy of imagination and form. The Feminine Semiotics of puppetry offer a representational strategy for syncretic identities in a complex marriage between content and form, intersections of metaphor and critique, surface and innovation represented through the thresholds of animist practices. In the 21 st century, women's puppetry is emerging as a means to push the margins of complex political and sexual discourse as the language of the feminine body expressed in her multiplicitous identities and sexualities of resistance. The article interprets the syncretic, threshold spaces of creative practice through the theories of filmmaker and cultural theorist Trinh T. Minh-ha (1987) and what she terms the " inappropriate other " that characterizes the emergent third in feminine representation. Through the expression of the inappropriate other, identities of difference recreate, deconstruct and refract each other, rather than simply replicating or resisting traditional conventions (Minh-ha, 1987). Puppetry, as the emergent third in this light, may lead to alchemy in practice, expressed between the surfaces of women's identity in critique and creativity. The practices of two significant female artists, Nandipha Mntambo and Jill Joubert, explore the sexual and political intersectionality of animism in sculptural and puppetry practices. Contemporary animism-based creative practices are shown to proffer strategies for inlaga 2
This article is based on part of the discourse data collected from a 5-month ethnographic study about how first-year learners of English as a second language (ESL) socially interact with their native-speaking peers in a college town in the U.S. Midwest. The data were collected from participant observation at an art exhibition at the research site. The analysis focuses on a video-recorded event when an ESL learner from China, Joe, had a negotiated meaning-making opportunity about the cultural values of art appreciation with his native-speaking friend, Carmen. The data corpus warrants an analytical framework that focuses on the contextualized interpretations of the smallest meaningful units, and thus the researcher employed microethnographic discourse analysis. The findings suggest that local campus communities are the venues where cultural values are contested, negotiated, and appropriated among ESL learners and their native-speaking peers. The study also shows that microethnographic discourse analysis is an effective tool for revealing the hidden and unmarked cultural constructs such as “what it means to be American.”
This paper argues that the surface narrative of Thomas Hardy’s The Return of the Native appears to endorse late 19th-century degeneration theories and discourse, illustrating a gender crisis. However, by decoding and laying bare the textual ambiguities, a subtext is disclosed that inscribes an alternative reading in which tradition and convention are subverted. Therefore the novel opens up a more complex interpretation of what it means to be human in an evolving universe. The narrative of The Return of the Native clearly shows that Hardy is fully cognizant of the controversial fin de siècle degeneration discourse. Yet, viewed in the context of 19th-century ideas about creative evolution and Hardy’s response to these, we realize that he exposes such discourses as deeply suspect ideologies. Analysis of the structure of the novel brings to light the intersection of two opposite narrative trajectories, a degeneration and a regeneration plot. In each plot there appears to be a careful patterning of character types built along stereotypical gender and ethical binary divisions, with the final validation of regenerative values and the punishment of transgressiveness. Actually, a close reading shows that Hardy attacks the ‘degeneracy’ not of the human species but of the social institutions and conventions which his protagonists must struggle against. He flouts the limitations of gender divisions and gives life to characters who become signifiers of a new and powerfully disturbing view of masculinity and femininity within contexts wider than the repressive and depressive established sexual model. These observations are linked to Hardy’s dual vision, the cosmic and the human, and to Henri Bergson’s creative evolution. In conclusion, it is maintained, within Hardy’s post-Darwinian evolving universe, all living creatures are caught up in ‘neutral’ processes of dissolution and transformation, changes that are inevitable and necessary to generation.
Three bodies were discovered in the cafe that night. LYING face down amidst the fragments. One was the body of a man. The other two were women. According to available police reports they were some sort of stupidly queer, maybe even perverse, political activists. Their own disclaimers had been more modest. At various times they had referred to themselves as artists, teachers, performers or even copy(w)riters. They were often unemployed. At least the women. Some considered them to be construction workers. Others thought of them as storytellers. Locally they had acquired a reputation as unauthorized agents of social-psychoanalysis. Tricksters to say the least; all were believed to be sociological orphans. Rumors of secret (w)rites had been circulating; and there was considerable confusion as to whether those killed were social scientists or some ill fated characters fallen from the pages a baroquely tragic drama. “Whoever I am,” stated one of the dead women only hours before blasts of steel silenced her lips forever, “I am not an intellectual, properly speaking!”
It’s incredible to be here. I never thought I’d be writing these words in prison and with such fear. It’s (k)not exactly that I hadn’t seen it coming. It was always already there in a way in my dreams. And in those unspeakable places of anxiety that ate me alive while at work or when watching television. And in the tightness of my throat during sex. For far too long I had treated these symptoms as no-thing but sliding signifiers. But tonight, from the perspective of terror in which I find myself imprisoned, I re-member these fleeting sensations as more complex and contradictory. These are (k)not discretely bound texts imagined while asleep in person. These are material prefigurations of what is most unspeakable and symptomatic. In and through HIStory. In and through my body. What’s going on? I ask this question economically, in the most general sense of the word. From my point of view, a human sacrifice, the construction of a church, the dangers of sharing the same needle, or the gift of a jewel were no less interesting than the sale of wheat, international armaments or junk bonds.2 What’s going on?
Speech is Homo sapiens’ form of communication par excellence. It has attracted the interest of ancient as well as contemporary scholars investigating human lore (e.g. linguists, philosophers, scholars studying communication, culture or literature). The sparse studies on silence perceived silence as the antonym of all sounds (including speech: non-voluntary: stillness external to communication; symptoms such as muteness as breaks in communication; or silencing) or as background (voluntary paralinguistic pauses demarcating speech as figure).The current article is based on linguistic studies which, having differentiated between the above silences and verbal silence (VS) – unarticulated verbal signifiers chosen by the speaker to signify meaningful content alongside speech – incorporated VS in the linguistic inventory.
This article focuses on the contributions to linguistics made by the integration of VS in the linguistic inventory. Insights are offered by the identification, understanding and refinement of linguistic concepts in light of the analyses of VS examples (the zero-sign, ellipsis as signifiers, asyndeton, etc.) drawn from literature, advertisements and spoken language. The major contribution is that the particularity of VSs, as unarticulated verbal signifiers, calls for the re-examination of key linguistic issues, such as figure and ground organizations, universalism, and linearity of the verbal code.
Does Job fear God for nothing? " " Do you still hold fast your integrity? " These two simple questions asked by the satan and Job's wife may be the clue for us to understand the complexities in the book of Job. Although unnamed in MT, Job's wife is named Dinah in the Targum of Job. Dinah is the only daughter of Jacob. In this way, Job is linked with the patriarchal Israelite tradition, and Joseph is the brother-in-law of Job. Joseph is another innocent character in the book of Genesis that fears God. Gerhard von Rad rightly classifies the Joseph story as a didactic narrative. In light of this, I am making an attempt to show that an intertextual reading of Joseph's story and the book of Job can provide us a better understanding to the narratives of Joseph and Job. Both Joseph's story and the book of Job are in one way or another related to Edom and share many commonalities, such as an encounter of adversity in a foreign land, temptation of a woman, blessings by God to reunite with family members and ultimately obtaining a long life. Job and Joseph together form a duet in the Hebrew Scriptures. We thus understand that God do respond to people indirectly. Job and Joseph fear God, and as a consequence they are blessed by God. Eventually, could we say that the law of retribution still holds true?
The modern horror film genre has incessantly dealt with questions of parenthood, pregnancy and the status of mothers, particularly with “bad mothers.”From the heart of popular culture, horror films engage in these issues unexpectedly, and sometimes even radically. These films enable us to recognize cultural taboos and to expose secrets that are not expressed in other genres. In this article, we examine the successful horror film, Mama (2013) that centres on two “bad mothers” involved in a fatal conflict over two girls. Through a comparison between Mama and the biblical myth of the judgment of Solomon, with which it dialogues and comments upon, we investigate the cultural hierarchy existing between two types of bad mothers, whom we term the “overfeeding mother” and the “starving mother.” The film disassembles and deconstructs this cultural hierarchy, while clarifying its social motivations. Proposing a radical alternative to Solomon’s judgment, the movie challenges the prevalent conception of bad mothering by exposing both mothers’ human faces, hence acquitting them in the eyes of the viewers.
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