Intertextuality
... Like contemporary cultural and literary theories. Intertextuality finds its origin in the works of the twentieth-century Swiss linguist Ferdinand de Saussure, who contributed to the notion of ''intertextuality'' and has radically influenced the established modern literary theory (Allen, 2000). He argued on the relational nature of meaning and the text. ...
... Kristeva (1986), a post-structuralist theorist, and a public intellectual writer, first coined the term ''Intertextuality'' in her research article ''Word Dialogue and Novel.'' Kristeva was mush impressed by Mikhail Bakhtin's theory of ''Dialogism'' and extended her work to develop the theoretical basis of Intertextuality (Allen, 2000). However, she took the idea of Intertextuality from Bakhtin, a Russian thinker due for certain reasons. ...
... Similarly, Roland Barthes, a public intellectual, extended the meaning of Intertextuality by giving it a new theoretical paradigm saying that a text is not a definite object and that it should replace the traditional notion of classification (Allen, 2000). He argues that a text is embedded with references and echoes other texts in structure (Hale 235-39). ...
The purpose of this study was to understand postmodern Intertextual perceptions of college-level teachers, the contribution of Intertextuality in comprehending a literary piece of work, and certain challenges facing Saudi EFL learners in meaning construction during the reading process examined in this research. The subjects were five professional teachers from two different colleges who were interviewed in a certain time framework. The researcher analyzed the teachers’ personal experiences, explanations about postmodern reading intertextuality, and its intricacies in learners’ comprehension emerged as dominant themes. The findings show that during teachers’ semi-structured interviews, their meanings, and contents indicated that cultural background, lack of intertextual awareness, stereotype approach, and lack of postmodern literary knowledge can provide impediments in textual analysis and interpretation. Further research is needed to explore more avenues in postmodern intertextual areas and to look into viewing intertextuality from deeper perspectives. Keywords: Canterbury tales; English teachers; intertextuality; pastiche; postmodernism
... Llegados a este punto, conviene aclarar que el marco de nuestro análisis no descansa sobre las consideraciones ontológicas que contemplan la traducción como una actividad intertextual en sí misma, sino sobre una concepción de la semiótica textual que relaciona un original dado con un corpus que lo antecede y determina. Estas conexiones, materializadas en tropos, narraciones, temáticas, estructuras discursivas, alusiones, citas directas, etc., trascienden los límites tradicionales del texto sobre el reconocimiento de la existencia de un significado rastreable entre intertextos (Allen, 2000). Asimismo, lejos de limitarse a una simple alusión, cumplen una función intencionada y condicionan, por lo tanto, la interpretación y la traducción de los textos (Hatim y Mason, 1990, p. 120 y ss.). ...
La intertextualidad desempeña un papel destacado del universo del discurso de todo texto. Este rasgo, presente en todas las culturas, goza de una preeminencia especial en la tradición literaria china y plantea, por lo tanto, especiales dificultades para los traductores que trabajan con esta lengua desde una tradición textual tan alejada, en principio, como la española. El presente trabajo analiza la relación entre intertextualidad y traducción a partir de la incidencia de las óperas modelo en la novela Duro como el agua, del escritor chino Yan Lianke. Para ello, en primer lugar, contextualiza la novela desde el punto de vista de la intertextualidad, visible tanto en la trama como en el estilo de la obra. A continuación, disecciona y aporta ejemplos de las estrategias empleadas en su traducción que muestran una combinación de elementos conservadores e innovadores.
... Thus, the concept of intertextuality emerged in the bosom of poststructuralism, which viewed each particular manifestation of a text as a mishap of a network of languages, discourses, meanings (Kristeva, 1980;Barthes, 1989). Currently, Allen (2000) concludes: each text exists and generates new meanings in the mythosemantic field of previous and potential future texts, of which there is an infinite number. The author notes that "we use language and are in it" (Allen, 2000, p. 13). ...
In the article the authors presented the results of associative-essayistic quasi-experiment, which revealed the modalities of perception, reflection and reception of students' reading of postmodern novels of the famous Ukrainian writer Andrukhovych “The Recreation” (2017), “The Perversion” (1996) and “Moscoviada” (2000). The relevance of the article is determined by the lack of methods for diagnosing professional and amateur reader's reflection in Ukraine and Western Europe. The relevance of the article lies not only in the popularity of Andruchovych’s work in Europe (2022 received the Heine Prize) but also in the lack of methods and strategies for forming and monitoring reading competence in the reception of a postmodern work. From the point of view of readerly intertextual communication, Andrukhovych’s novels (1996; 2000; 2017) are potentially open to many interpretive strategies. The main reason for this is their being on the verge of postmodernist and new realist paradigms, which implies distancing from the accumulation of citations and the practice of using intertext according to a certain extraliterary intention. Consequently, the purpose of the article is to identify the precedent texts, that form a system of reader's absentee communication when reading the novels of Andrukhovych (1996; 2000; 2017). In order to achieve the goal, the study applied a comprehensive approach. In the article the authors proved the relevance of the phenomena of the town and river timeline and travel timeline in the perception of the professional reader; demonstrated that the nearest textual coincidence of urban chronotopes of novels by Andrukhovych (1996; 2000; 2017) is work by Pidmohylnyi (2008), Gogol (2022) and others. The main of these coincidences is the threefold structure of the city and the pathos of the romantic line. The main conclusion of the article is the orientation of the vector of intertextual interaction in the novel towards the representation of the eternal archetype of the cultural hero, on whom the reader projects his or her Ego. The international relevance of the article is determined by the wide popularity of Andrukhovych’s works in Europe and the recent receipt of the Heine Prize (2022).
... The extensive study of intertextuality during the last decades (for instance, see Still and Worton 1990;Martínez Alfaro 1996;Allen 2000;Irwin 2004) has resulted in numerous detailed classifications of the concept in general, and the implementation of intertextual strategies in the analysis of literature, cinema, etc. Torop's 1995 study of the relationship between inter and intext, and an extensive classification of text interactions by Genette (1982), are also worth mentioning here. The latter distinguishes intertextuality (quotation, allusion, plagiarism), paratextuality (the relation of the title, epilogue, etc., with the text), metatextuality (the relationship between pretext and text), hypertextuality (parody and ridicule of other text) and architextuality (the genre interrelation of texts). ...
Intertextuality became one of the most popular and important terms in the culture of the 20 th century. It is usually considered in connection with postmodernism and its ironic nature. Contemporary writing is still intertextual, though far from being postmodern. Moreover, even some medieval texts appear to operate intertextual tools systematically. The article presents examples of intertextuality in different novels from both the prepostmodern and postpostmodern worlds, and searches for a possible explanation for this phenomenon through methodical solutions that would improve our understanding of intertextuality in the frame of literature analysis. It shows that different features of intertextual writing should be carefully considered in the frame of postpostmodern literature and questions the accuracy of our approach to discussing cultural process.
Objective: The objective of this study was to analyze the role of intertextuality in the construction of the film narrative to aesthetically bring it closer to or distance it from the Winnie the Pooh books, created by A.A. Milne and illustrated by E.H. Shepard. Theoretical Framework: The investigation is based on the conceptions of dialogism introduced by Bakhtin (2009) and intertextuality studies by Kristeva (2012) and Genette (2009; 2010). Additionally, it incorporates intertextuality concepts from Jenny (1979), language theories from Burke (1966) and Hall (1997), film adaptation studies by Stam (2008), and cinematic narrative concepts from Aumont et al. (2007) and Gaudreault (2009). Method: The methodology employed in this research is characterized as descriptive, bibliographic, and documental, with a qualitative approach and content analysis based on Bardin (2011). Results and Discussion: The investigation revealed an intertextual dialogue between the film and the book, making the film credible in relation to the literary works published. Research Implications: The research proposes an intertextual dialogue between film and book, showing how each benefits from the other in adaptations. Originality/Value: The study provides an academic contribution by exploring intertextuality as a tool in the creation of film narratives, highlighting its role in the adaptation and reinvention of stories.
This chapter explores the interaction between the latent text-worlds that form Oryx and Crake (Atwood in Oryx and Crake, 1st ed., Virago, London, 2003). Set in a post-apocalyptic near-future, this latency is cued up in the novel’s world-building and in the continued and layered processes of conceptual comparison it engenders. Through analysis of a sample of 100 reader reviews, and of key extracts from the opening and the close of the novel, this chapter argues that the readerly experience of plausibility and the resonant effects of reading, as suggested through lingering what if questions noted by the reviewers, is invited by the ‘double consciousness’ (Snyder in Studies in the Novel 43:470–489, 2011, 470) inherent in speculative world creation.
Through an educational perspective, the paper traces the attitudes towards nonhuman animals, the human-nonhuman relations, and the ideologies included in the literature curriculum developed by the Bulgarian Ministry of Education and Sciences. Comparing the official programmes with certain literary textbooks, I examine various representations of nonhuman animals in the latter. I study which authors who wrote about nature and nonhuman animals are included in the curriculum, which of their literary works are studied in school, what interpretational directions are offered, what approaches to human-nonhuman relations are chosen, and what types of thinking are encouraged and cultivated.
The general objective of this intertextual analysis’s was to explore Wolde’s novel Defend the Name (1969) with the view to identify and interpret the several thematic and stylistic intertexts that are woven throughout the narrative. Based on available research, there is a scarcity of critical studies that have utilized the theory of intertextuality for the analysis and interpretation of Ethiopian prose fiction in English, particularly within the novel genre. The current study was aimed to partially fill in this critical gap. In doing so, the theory of intertextuality is employed as theoretical-analytical framework of the study. The findings of this intertextual analysis concentrated on the thematic and stylistic intertexts that were woven throughout the plot of the book Defend the Name. These intertexts included biblical allusions, colonial literary devices, contemporary theoretical and ideological works, and cultural and historical discourses that the book intertextually engages with in addition to other literary and nonliterary works. This study provides insightful information about the thematic diversity of Defend the Name and its involvement with multiple intertexts through its intertextual analysis. It enhances the reader’s comprehension of the story, characters, and larger sociopolitical situations that the novel addresses, demonstrating the author’s skill in fusing together a variety of literary, scriptural, ideological, and cultural aspects.
By skillfully integrating a wide range of scholarly and intercultural references into his novels, the Egyptian novelist Najīb Maḥfūẓ has differentiated himself as an author of exceptional prowess. To convey his intended meanings, he has made extensive use of historical allusions, including (past figures and events). In the present study, we attempt to assess the translation of these types of intertextuality utilized in Maḥfūẓ's Cairo trilogy via adopting the criteria of "accuracy, clarity and naturalness" proposed by Larson in 1984. This study follows a qualitative descriptive approach to analysis. We aim to discover the tactics utilized in translating historical intertextuality into English and to identify the challenges faced by the subject translators and the reasons behind them. The current study hypothesizes that irrespective of what method the translators use to translate historical intertextuality, the translator's historical and cultural background would seriously influence the output of the translation process. The study concludes that intertextuality is a crucial device for all language users since no speech ever starts in a vacuum, and it is via intertextuality that our old legacy is continually refreshed and viewed from different points of view. It further concludes that intertextual expressions that are more culturally specific are the most challenging and he translator's familiarity with the previous texts of SL plays a significant role in the process of deciphering the meaning of intertextual texts.
This paper presents an intertextual analysis of official language policy in Morocco. The study aims to map the intertextual links between a corpus of official language policy documents and seeks to trace how particular official texts extend or modify other existing texts. Specifically, it sheds light on the accommodation, foregrounding, or backgrounding of specific language ideologies shared by these texts. Using dedicated software, a corpus comprising 16 diverse official documents was constructed. The paper employs Corpus Linguistics (CL) and Critical Discourse Analysis (CDA) techniques. The results of the study revealed compelling intertextual links within the corpus. Horizontal intertextuality analysis exposed intricate relationships with a chain of texts, highlighting manifest links related to themes such as plurilingualism, media of instruction diversification, functional use of languages, and the treatment of Tamazight. These links illuminated how embedded discourses and language ideologies serve ideological language-related agendas. Vertical intertextuality analysis showcased the entrenchment of certain beliefs and ideologies about national languages and demonstrated how it recontextualises humanist concepts such as equality and equity to align with the international discourse about education. Overall, by examining the intertextual dynamics in key official documents, this study contributes a nuanced understanding of Morocco's language policy landscape.
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.
Pyotr Demyanoviç Uspenski’nin İvan Osokin’in Tuhaf Hayatı (1915) adlı romanında, zaman izleğinin önemli bir yere sahip olduğu görülür. Bu itibarla zaman, kronolojik bir süreç olmaktan ziyâde döngüsel yönüyle işlenmiştir. Döngüsel zaman kurgusunda ise metinlerarası yöntemden faydalanılmıştır. Bir metnin farklı metinlerle olan alışverişine işaret eden bu kavram, romanda alıntı tekniğiyle karşımıza çıkar. Zira söz konusu roman, Robert Louis Stevenson’ın “Yarının Şarkısı” (1900) adlı masalı ve Friedrich Nietzsche’nin Böyle Söyledi Zerdüşt (1883) adlı eserlerine doğrudan göndermede bulunur. Bu metinlerde de döngüsel zaman ön plandadır ve felsefi unsurlar ve simgelerle bu izlek desteklenmektedir. Böyle Söyledi Zerdüşt’e felsefi bir unsur olan sonsuz geri dönüş kavramı aracılığıyla gönderme yapılırken yılan simgesinden faydalanılır. “Yarının Şarkısı” adlı masalda da zamana ilişkin simgeler yer almaktadır. Saç, ip, dalga, tekrar eden dokuz rakamı gibi simgelerle yine döngüsel zaman izleğine işaret edilmektedir. Tüm bunlar metinlerdeki zaman izleğinin benzer ve farklı yönlerini de açığa çıkarmaktadır. Bu çalışma Pyotr Demyanoviç Uspenski’nin, Ivan Osokin’in Tuhaf Hayatı adlı romanında zaman izleğine odaklanmayı; metinlerarası bir yaklaşımla “Yarının Şarkısı” ile Böyle Söyledi Zerdüşt’ün söz konusu romanla etkileşimini karşılaştırmayı amaçlamaktadır. Böylece bu izleğin hem felsefi hem simgesel boyutunu incelerken metinlerdeki zaman izleğinin ele alınma biçimini de karşılaştırmayı hedeflemektedir.
This article investigates the role of emotions and the conceptual use of peace to justify martial violence. Drawing upon empirical evidence collected at the Canadian War Museum, the article explores how representations of war history present militarized violence as both a threat to, and the solution for, global peace. Building on scholarship in IR and Peace Studies that theorizes the relationship between war and peace, this article puts forward a novel analytical concept – martial peace – to investigate this paradox. It theorizes that manoeuvring peace as a justification for military activities not only results in depoliticizing the contexts of conflicts and war, but also serves to euphemize the violence that occurs in the name of peace and within so-called peaceful societies. Using Canada as a case study, the article explores how martial peace obscures settler colonialism and generates affective militarism as key components of nationalist projects.
The need for quality standards and rules of conduct concerning all aspects of the activities of psychology has long been acknowledged. In particular, over the last few years there has been a growing awareness of the need for and the advantage of internationally recognized ethical standards, particularly concerning research and practice and the well-being of individuals and societies. With this need in mind, this volume provides an assembly of facts and visions across the entire field of psychological ethics. The Oxford Handbook of International Psychological Ethics provides a source for information on psychological ethics worldwide, and offers an inclusive international review of contemporary and emerging ethical issues within the profession and science of psychology. The topics covered include: a history of ethical standards of psychology; developments and challenges in international psychological ethics, such as the search for universal ethical standards, ethical issues when working cross-nationally with immigrants and refugees, and ethical responses to security risks; ethical developments and issues within specific geographical regions; and research utilizing the new media.
As a multidisciplinary field, futures research borrows approaches from different disciplines. However, it often ignores the potential of the arts on a large scale, even though the arts embrace creativity and often depict and narrate imagined futures. This article applies a case study approach to review and categorize selected arts‐based approaches and assess their potential—strengths and limitations—for futures workshops in higher arts education context. The approaches were tried extensively in Art School Futures Labs (15 test labs and 12 actual labs) and a summer school in eight European countries. Three case examples are scrutinized in more detail to illuminate their use in the cocreation of futures images. One artistic futures image is discussed within the frameworks of Wittgensteinian aspect perception and intertextuality, highlighting the importance of interpretation in unpacking the complex meanings that artistic futures images convey. Finally, some recommendations are given to support the successful use of arts‐based approaches in futures workshops.
As separatist yearnings resurge and gain traction in Nigeria, the agency of language and digitality in spreading dissident discourses has come under scrutiny. In this study, I investigate the linguistic-historical dimension of the Biafran movements, exploring the rhetorical frames by which the actors curate ethnic victimhood and sustain the secessionist struggle. Drawing on a corpus of memoiristic narrative of the Biafra war and digitally mediated discourses from a new Biafran movement – Indigenous People of Biafra (IPOB), I identify and discuss the central topoi of warspeak in both narratives across space and time. In this context, the notions of linguistic framing and atrocity propaganda are fruitfully integrated to analyse the range of rhetorical strategies for incentivizing the struggle and for animating its social capital. While both narratives draw on shared belongings, historical precedents, cultural frameworks, and atrocity stories for incitement, they vary in style and audience. I attribute the shifts to changes in actors’ demographics, discursive contexts, and Nigeria’s ethnopolitical cartographies.
Paul Keens-Douglas, renowned Caribbean storyteller, has related various tales on the game of cricket. “Tanti at de Oval”, a notable representation of sport in literature, is a fictionalized narrative of an actual 1975 regional cricket match played at the Queen’s Park Oval, Trinidad. Each is a famous sporting and speech event with the latter, also published as an illustrated book, imaginatively chronicling and couching the former in joke, humour and Trinidadian Creole. Claire Westall describes Keens-Douglas’s story “Me an’ Cricket” as “an interesting example of the meeting point between oral and scribal traditions”—a characteristic feature of his oeuvre—and points to Cynthia James’s affirmation (Child Lit Assoc Q 30(2), p. 170, 2005) that he “played an important role in the reclamation of a local folk voice and the literaturisation of creole orality” (The shorter form(s) of the game: cricket, childhood and the Caribbean short story. In: Evans L, McWatt M, Smith E (eds) The Caribbean short story. Critical perspectives. Peepal Tree Press, pp. 128, 2011). “Tanti at de Oval” is as much about the unnamed homodiegetic narrator and the eponymous Tanti Merle as it is about cricket, a sociocultural institution in the Caribbean. This essay analyses discursive strategies such as titling, repetition, sports commentary as embedded discourse, and complementarity of visual and written codes in exploring how the interplay of voice and perspective is encoded in and contributes to the successful rendition of the story.
Peter Ackroyd’s novel The Casebook of Victor Frankenstein, as a postmodern intertextual novel, reimagines and rewrites Mary Shelley’s seminal novel Frankenstein: or, The Modern Prometheus, by putting its titular character in the historical conditions in which Mary Shelley composed her narrative. It is proposed in the study that in Ackroyd’s novel, Victor Frankenstein is imagined as a Romantic genius figure who is inspired by the Romantic poets of the early 19th century Britain. This study aims to show how Ackroyd’s portrayal of Victor Frankenstein as a Romantic artist problematises the very concept of Romantic genius by exposing the shortcomings of genius figures and their lack of self-perception. The concept of genius is discussed by referencing to the Romantic tradition in the British literature and it is inspected how Ackroyd’s postmodern novel decentralises the genius figures, by depicting them as productions of a class-conscious society. It is discussed that these historical figures are socially constructed figures who, behind all their idolisations, are fallible human beings. The discussion is expanded by examining the postmodern inclinations of the text which recontextualises the Frankenstein myth. This article questions whether a historical narrative can be considered as valid in a postmodern era in which meaning perpetually multiplies.
Geniş bir inceleme alanına sahip olan sözlük, yapısökümcü bir bakış açısıyla yapıt ve metin karşıtlığının bir parçası hâline getirilmiştir. Yapıt/metin karşıtlığı sözlüğün başka bir biçimde inceleme nesnesi hâline getirilmesine olanak sağlamıştır. Bir başvuru kaynağı olarak sözlük temelde yapıttır. Sözlüğün bir yapıt oluşu onun bir töz olduğunu ve bir bağlamda bulunmadığını gösterir. Ancak sözlük bir biçim olarak alıntılanıp metin hâline gelebilir. Burada metinsellik kavramı devreye girer. Metinselliğin devreye girişiyle birlikte metinlerarası ilişki başlar, çünkü yapısökümcü bir perspektifte dünyanın kendisi bir metindir ve her şey metinlerarasıdır. Bu doğrultuda etinlerarası ilişkinin başlamasıyla beraber sözlük yalnızca bir metin değil, bir ara-metin hâline gelerek metinlerarası ağın bir parçası olur. Böylece her sözlükbirim, birer töz olmaktan çıkıp biçime kavuşarak metinleşir. Bu çalışmada da söz konusu savdan hareketle sözlük ve metinlerarası ilişki tartışılmış ve sözlüğün bir biçim olarak alıntılanıp metinleşebileceği gösterilmeye çalışılmıştır. Bu bağlamda Mehmed Celâl’in dönemi için ilginç sayılabilecek metni Sevda Lügatî inceleme nesnesi hâline getirilmiş, sözlük-metin kavramından hareketle sözlüğün nasıl metinleşebileceği ortaya konulmaya çalışılmıştır.
Despite technological innovations, orality still forms one of the aesthetic elements in the new media such as home video films as a result of the unending interface between orality and the literacy tradition. Using intertextuality as an approach, in this article I examine orality in selected films of Akínwùmí Ìṣọ̀lá, with a view to showing how he uses verbal arts as a powerful tool for the transmission of cultural values. The selected films are Saworoidẹ (1999), Agogo Èèwọ̀ (2002) and Ẹfúnṣetán Aníwúrà (2005). The films were selected based on their preponderant featuring of oral narratives. My findings reveal that folktales, legends, songs, Ifá corpus, drumbeats, incantations, and panegyric are the Yorùbá oral genres that Akínwùmí Ìṣọ̀lá incorporates into his films. One can infer from Ìṣọ̀lá’s films that there is an overlap between his oral culture and his creative work because culture is the active force that energises and drives the creative work. I conclude that Ìṣọ̀lá uses his creative ingenuity to re-awake and preserve Yorùbá oral tradition in his films, which points to the fact that oral literature has a continued vitality for contemporary society.
(Re)constructing the Self in Women’s Autofiction: The Case of Sașa Zare’s Dezrădăcinare. This paper aims to examine the (re)construction of the female subject in contemporary autobiographical fiction by looking into Sașa Zare’s debut novel, Dezrădăcinare.
Dialogic Pedagogy of the "Linking Worlds" is characterized by forming community classrooms incorporating a diversity of community agents who join to transform the official school curriculum in Chilean public schools. The participatory action research we report in this article was developed in two of these classrooms, one in the cultural context of a mining community and the other in a rural cultural context. The action research project aimed to make their local cultures visible in the school curriculum. Our objective was to systematize the knowledge and practices of the people who are part of community classrooms and determine whether these contributions managed to challenge the official curriculum structure. We achieved our objective in a four-year study involving 76 participants in dialogical conversations and collective dialogues. Throughout the study, we collected audiovisual records. We identified two areas of knowledge and practices that transform the official curriculum: the corporeality-affectivity and community areas. In addition, it was possible to verify that although the themes nominally coincided, the curricular transformations differed depending on the local characteristics of each classroom. These local curricular transformations promote the advancement of dialogic pedagogy because in such decisions and through egalitarian dialogue, debates, disputes, etc., different participants’ voices are heard in each community classroom. In addition, these transformations keep the debate and interpretation of school curricular contents open.
Recent philosophical discussions in the academia on New Testament Studies have brought to the fore insights which urge us to rethink disciplinary bordering practices that ignore the valuable contributions from other interpretive methods in other disciplines such as linguistics, social sciences and psychology, among others. The traditional interpretive methods utilised for the inquiry of the New Testament discourses have been overused. It is imperative to explore heuristic tools that emerge from outside the disciplinary borders in order to offer more nuanced readings and interpretations of New Testament texts which may provide fresh insights. In this chapter, we contend that the application of linguistics interpretative methods is fruitful in New Testament Studies because more attention is accorded to the linguistic aspects and languaging of New Testament texts. This chapter seeks to interrogate and analyse the present state of interpretive methodological debate on the New Testament with a profound focus on the stylistic approach. The application of stylistics, which is in the realm of linguistics, to New Testament Studies takes us to novel interpretive pathways which prompt us to re-theorise and re-interpret New Testament discourses as complex assemblages of language and possibly yield new meanings of the texts. The intersection of New Testament Studies with linguistics is critical for mapping future research trajectories that further embrace multi-perspectivality and cross-disciplinary approaches.KeywordsNew TestamentStylisticsLinguisticsMulti-disciplinaryInterpretive methods
“Intertextuality” names a text's relations to other texts in the larger “mosaic” of cultural practices and their expression. An “intertext” is therefore a focalizing point within this network or system, while a text's “intertextual” potential and status are derived from its relations with other texts past, present, and future. Unlike the term “reference,” to which it is closely allied, “intertextuality” has no verb form and hence has unlimited powers of designation, but not specification to a particular kind of textual activity (Orr 2003). However, unlike critical terms such as “allusion,” “intertextuality” has a specific provenance and date. In her work on the Russian critic and theorist Mikhail Bakhtin, Julia Kristeva described and named the concept of “intertextualité” in a series of essays between 1966 and 1968 published in French in 1969 (as Semeiotiké: recherches pour une sémanalyse) . While Semeiotikè has been translated into English only in part (by L. Roudiez in 1980 and others in Moi 1986), Kristeva's term needed no translation into cognate European tongues sharing Greek and Latin heritages. Its instant and spontaneous success lay in its applicability, to multifarious cultural forms and practices, on the one hand, and, on the other hand, to the cultural sea change post‐1968 in notions about language and power, namely that these were decentered and in process rather than being given or fixed. Kristeva's complex and careful redefinitions of Bakhtin's work on “dialogism,” “carnival,” and “polyphony” as “intertextuality” were thus rapidly re‐spun in a plethora of theoretical and applied work on language, cultural practices, and power structures now understood as “the linguistic turn.” Roland Barthes, Jacques Derrida, Philippe Sollers, and Michel Foucault all variously inflected and reshaped Kristeva's “intertextuality” by focusing on its core idea, the notion that there is nothing outside of language, and hence of the text.
Intertextuality refers to the relationship among texts that echo or refer to one another, often through allusion, citation, or borrowing. Laurent Jenny defines intertextuality as “the necessary precondition of reading literature,” and Michel Riftaterre, as the mechanism of literary reading itself. This change in ways of thinking about literary texts began in the final years of the 1960s and in the following decade, when Mikhail bakhtin coined the notion of dialogism in 1970 and when the word intertextuality was used for the first time by Julia Kristeva in Sêmêiotikè in 1969 (1980, Desire in Language) .
The concept of intertextuality has been significant within a range of theoretical debates (Orr 2003). Though often assumed to be a matter of one text directly citing or quoting material from another, intertextuality has also been theorized as underpinning the general condition of textuality itself. As French structuralist Julia Kristeva (1969) argues: “Every text takes shape as a mosaic of citations.” This has become a crucial concept in structuralist attacks on the authority of the author (Barthes 1977; Allen 2000). It is argued that language and textuality, as structuring systems, should form the proper objects of analysis, and not authorial agency.
Bu çalışmada, yabacılara Türkçe öğretimi okuma metinlerinde yer alan metinler arası ilişkilerin ortaya konulması ve değerlendirilmesi amaçlanmıştır. Çalışmada örneklem olarak Yunus Emre Enstitüsü tarafından hazırlanan Yedi İklim Türkçe Öğretim Seti C1 seviyesi ders kitabı okuma metinleri belirlenmiştir. C1 seviyesi, dil yeterlilik düzeyini sağlamada son aşamaya yaklaşmış olma ve bu seviyenin Türkçenin Yabancı Dil Olarak Öğretimi Programı okuma kazanımları arasında “Metin içi ve/veya metinler arası karşılaştırmalar yapar.” hedefinin yer alması nedeni ile tercih edilmiştir. Çalışmada nitel araştırma yöntemlerinden doküman incelemesine yer verilerek veriler toplanmış, içerik analizi ile veriler çözümlenmiştir. Metinler arası ilişkilerin belirlenmesinde ortakbirliktelik ilişkileri ölçüt alınmıştır. Her bir ilişki için başlıklar oluşturulmuş ve belirlenen metinler birden fazla kez okunarak alanyazındaki benzer çalışmaların yardımı ile metinler arası ilişkiler saptanmıştır. Güvenilirliği sağlamak adına bulgular bir Türkçe öğretmeni ve bir Türkçe eğitim uzmanı tarafından incelenmiştir. Araştırma sonucunda, açık ilişkilerden en çok alıntıya yer verildiği tespit edilmiş kapalı ilişkilerden ise gizli alıntıya yer verilmediği bulgusuna ulaşılmıştır. Bunun yanında 3 metinde hiçbir metinler arası ilişki tespit edilmemiştir. En çok metinler arası ilişkinin ise Lambada Titreyen Alev Üşüyor, Kültürümüzde Sayılar ve Türk-Boşnak Halk Kültürünün Ortak Unsurları başlıklı metinlerde kurulduğu saptanmıştır.
Using the frameworks of literary understanding and difficult knowledge, this study examines sixth graders’ responses to mixed-genre books about Japanese incarceration camps.
The history of the development of Islam in Indonesia often fails because of the rejection of the local community. Therefore, it is necessary to make ethical efforts so that society can accept Islam. This research is an attempt to explain the Mantra by Sunan Kalijaga (after this referred to as SKM) as a medium for spreading Islam. This research uses a qualitative research paradigm. The primary data source is the spell text in Serat Kidungan ingkang Jangkep. Data analysis techniques use content analysis techniques and hermeneutics. The results showed that SKM is a philosophical representation of Javanese mantras with the spirit of Islam. Mantras are not simple texts but rather acts of establishing the understanding of Islam through integrating literature and culture. Hindu-Islamic syncretism is wrapped in the symbolisation of the text. Word choice is not always of magical significance because the text is oriented towards the purpose of ‘the other’. Restructuring the relationship between text and symbols reflects a strategy for changing the nature and purpose of spells. In turn, SKM is a quality ritual language that has an essential role in the history of the Islamic movement in Java, Indonesia. Axiologically, SKM provides necessary educational knowledge about the ethics of proselytising without being hurt. Sunan Kalijaga combines literary, cultural, educational, and ethical values for religious purposes. An important implication of this research is that mantras can contribute to promoting the transdisciplinary aspects of religion in the international theological arena through mantra texts. Thus, SKM has an essential role in spirituality and science.Contribution: This article contributes to the HTS Theological Studies’s goal of promoting the transdisciplinary aspects of religious studies in the international theological arena on the study of mantra texts.
Tras la crisis mundial de la industria discográfica de los años noventa, la música popular y su industria han tenido que repensarse. Su alianza con el negocio transmedia y su lógica narrativa han sido parte de esa transformación. El vídeo musical sigue siendo necesario para la promoción multilateral y transmedia de la música: a través de estos formatos, los usuarios se involucran en la creación de contenidos en relación con el universo visual del artista y los comparten y hacen virales. Esto supone una primera forma de expansión del vídeo musical en su transformación dentro de la lógica de la ecología digital en una era postelevisiva. Sin embargo, el video musical tiene otra vertiente de expansión con su extensión a través del álbum visual, que supone una correspondencia de cada pista musical con una pista visual, donde utiliza mecanismos que unifican los mensajes o referencias, por ejemplo, como motivos visuales repetitivos (motivos temáticos, similares imágenes, lugares o personajes). El álbum visual permite otra forma de promocionar los trabajos discográficos: antes se vendían a través de dos o tres sencillos; ahora se intenta alargar la vida útil de los trabajos discográficos, generando mundos de sentido consolidados. Este imaginario propio se logra con una combinación de unidad y diversidad a través de figuras retóricas de repetición o de citas de otros textos culturales, componiendo narraciones o storytellings personales. Proyectos como los tres álbumes visuales de Beyoncé (Beyoncé, 2013, Lemonade, 2016 y Black is King, 2020), Dirty Computer de Janelle Monaé y El mal querer de Rosalía son ejemplos de una nueva forma de hacer álbumes musicales, donde el artista musical se resignifica y aporta recursos para un nuevo concepto del cuerpo y la performance.
İki veya daha fazla metin arasındaki bağlantılara veya ilişkilere işaret etmek veya söz konusu bağlantıları ortaya koymak amacıyla uygulanan ve başlarda sadece metin incelemelerinde başvurulan metinlerarasılık daha sonraki dönemlerde farklı disiplinlerde kullanılmıştır. Bu yaklaşımla sinemalararasılık, müziklerarasılık, fotoğraflararasılık, medyalararasılık, gibi kullanıldığı disipline özgü isimler alarak, yansılama, öykünme, bilinçli esinlenme gibi kavramlar kapsamında da ele alınan bir yöntemdir. Bu yöntemde belirleyici olan hangi alan incelemesinde kullanıldığı değil yapılmış çalışmaların bir birleriyle olan sistemsel ilişkileridir. Sanatsal alan çalışmalarında da yaygın kullanılan bir çözümleme yöntemi olan metinlerarasılık kavramı zamanla yerini göstergelerarasılık veya resimlerarasılık kavramına bırakmıştır. Göstergelerarasılık veya resimlerarasılıkta başkasının inşa ettiği biçim alıntılanarak, alıntılanan bu biçim öteki bir bağlama taşınarak sanatsal dolayım yapılmak üzere bir dönüştürülme yapılır. Görsel sanatlar alanında neredeyse her dönemde sanatçının kendi çalışmasından alıntı yapmasının yanında başka sanatçının üretiminden de alıntı yaptığı görülmektedir. Bu çalışmada da Michelangelo’nun Pieta temasının sanatçının sonraki çalışmalarında tekrarlı kullandığı formlarda ve farklı sanatsal periyodlarda farklı sanatçılar tarafından üretilen sanatsal biçimlerde alıntılanan Pieta temasının göstergelerarası veya resimlerarası ilişkisini incelemek amaçlanmıştır.
Bu makale, Suriyeli roman, kısa hikâye ve tiyatro yazarı Nihâd Sîrîs’in Sessizlik ve Gürültü romanı ile George Orwell’ın Bin Dokuz Yüz Seksen Dört romanını bir palimpsest-metinlerarasılık ilişkisi kurarak ele almaktadır. Çalışmanın amacı, totaliter rejimlerin hükmettiği toplumlara yönelik hegemonya kurma faaliyetlerini, baskı ve şiddet politikalarını politik-distopya türündeki her iki romanın kurgusal örgüsü örnekleminde ortaya koymaktır. Bunun yanı sıra çalışma, içerik bakımından Sessizlik ve Gürültü ile Bin Dokuz Yüz Seksen Dört arasındaki palimpsest ve metinlerarasılık ilişkisini değerlendirirken Bahtin ve Kristeva’nın kuramları ışığında, metin analizi yöntemini kullanmaktadır. Orwell’ın distopya türündeki kült romanı yirminci yüzyılın siyasi ve toplumsal akımlarına, savaşlara, ters yüz edilmiş bir dünyada bireyin varoluş çabasına, işkenceye ve sosyalizm maskeli totaliter diktatörlüklere satirik eleştiri getirir. Benzer şekilde, Sîrîs de romanında başta Arap dünyası olmak üzere çoğu doğu toplumunda tek kişinin tahakkümüne bağlı medya ve söylem kontrolü, baskı, korku ve lideri kutsallaştırma gibi olgulara yönelik eleştirilerde bulunur. Yazar, sessizlik ve gürültü kavramlarının ikiliğiyle, diktatöre karşı en küçük direnişin yol açacağı sonu okuyucusuna derinden hissettirmektedir. Olay örgüsü adı bilinmeyen bir ülkede, yirmi dört saat içinde, ana kahraman Fethi Şiyn’in etrafında gelişmektedir. Romanın geçtiği mekân her ne kadar belirtilmese de Suriye’nin tarihsel arka planı ve bugün içinde bulunduğu süreç edebî kurgunun bir gerçekliği yansıttığına dair güçlü göstergeler sunmaktadır. Arap Baharının ayak sesleri Sessizlik ve Gürültü’de yankılanır.
The theorizing of literary horror is characterized by constant change, and as it evolves it provides more insightful models of interpretation. As David Hartwell, one of the key theorists in the field, states in "The Dark Descent: The Evolution of Horror" (2001), horror has reached that point of development where we can finally appreciate its achievements. In literary criticism, scholarships devoted to the horror genre began to appear as early as the 1920s. Since then critical thought has been dealing with disagreements regarding its definition. In particular, the theory of horror operates such terms as "dark fantasy", "mystery story", "horror story", "gothic story", "story about the supernatural" and others, and they are often used as synonyms. Consequently, there is a need to clarify the definition of horror and its collocations, at least in those studies which have a theoretical component as a key one. While the definition of horror is still a matter of discussion, there is a consensus view on the genre’s key distinctive feature: creating a certain mood throughout the textual tissue. Particularly, a famous literary scholar John Cuddon claims that horror "shocks", "frightens", "induces a feeling of repulsion or loathing" (The Penguin Dictionary of Literary Terms and Literary Theory, 2014). Douglas E. Winter concurs with this statement while affirming in his introduction to the anthology "Prime Evil" (1989) that horror is not only a genre but an emotion. Hence, it is critical to identify the ways in which the emotion of horror is constructed in composition, plot mechanics and characterization, as well as outline specific linguistic and stylistic features of horror texts. This paper deals with the theoretical aspects of horror as it aims to refine its attributive features within the interest of literary criticism. We analyzed a variety of definitions of horror across various disciplines, in diachrony and synchrony, and proposed a definition that can be appropriated in literary horror studies.
Apesar da vasta produção literária e crítica, é no conjunto de obras memorialísticas formado por Memórias Póstumas de Brás Cubas (1891), Dom Casmurro (1889) e Memorial de Aires (1908), que Machado de Assis demonstra o ápice da sua carreira como escritor. Desse modo, tomando como base essa última obra de formato memorialístico, esse estudo analisa o uso da intertextualidade como um dos principais recursos estéticos na confabulação das memórias que constroem esse romance. Além de compreender como o escritor se apropria desse artifício intertextual para atualizar, no Memorial, clássicos literários como: Divina Comédia (1979) de Dante, a poesia To... (1994) de Percy Shelley, o drama romanesco de Romeu e Julieta (1998) de Willian Shakespeare e o livro de Eclesiastes (2008) da bíblia.
This paper explores the possibilities of using alternative forms of analysis when thinking about “dementia friendly communities,” a recent if not by now historic phenomenon. Using ethnographic methods, I ask the question: what remains beyond, in excess of, and is never quite captured in discourses around such communities, if they exist? Dementia is an elusive concept, often appearing as personal disruption, and often threatening the ways that contemporary lives are ordered. I ask whether there is value in questioning the fragmentary remains of researching dementia friendly communities from a different angle, by approaching the disparate assemblage of materials, fieldnotes, photos, recordings of ordinary practices, of state practices, through more creative means? Taking inspiration from the avant-garde techniques of William S. Burroughs, in particular cut-ups and collage, the aim here has been to pay attention differently and move beyond what is already known.
The communication dimension of the Covid-19 pandemic, which has caused serious destruction worldwide, is at an important point. It is seen that there are changes in the advertising strategies of brands in this process, where different methods are used especially in the media and advertising fields. In this context, this study examines how the pandemic is used in advertisement launched during the Covid-19 process. In this direction, in this study, how the pandemic was handled in advertisements launched during the Covid-19 pandemic process and how it was used in advertisements by brands was analyzed by the method of critical discourse analysis. Therefore, the aim of this study is to reveal how brands try to benefit from a health-related issue and how this effort is revealed in advertisements. Within the scope of the research, the advertisements of three different brands that were broadcast on television channels and operating in different sectors during the Covid-19 pandemic in Turkey were examined. According to the findings, it is seen that advertisers prepare advertisements with emotional tones and consciously benefit from the appeal of fear. As a result, it should be considered as a reflection of the current system that brands try to benefit from this fear in their advertisements at a time when individuals are afraid of losing health. Even in a pandemic that threatens human health, this effort in order not to decrease of consumption rate shows once again the ravage of the capitalist system.
The purpose of this article is to raise an old debate that seeks to explore textual relations and how meaning is ascribed to texts. Is meaning finite? Is the author responsible for the meaning of the texts (s)he produces? The other question is whether heteroglossia implies a deliberate disruption and imitation of other texts. The article uses heteroglossia, a concept adapted by Julia Kristeva as ‘intertextuality’ to examine Sepedi poetry written by NS Puleng and examine ‘transportations’, and ‘intertextual weavings’ of other texts discernible in Puleng’s poems. By doing this, the article revives the death of the author and the “birth of the reader” as old debates clothed in textual theories espoused by theorists such as Roland Barthes and Kristeva in their attack on the capitalist notions of readers as consumers and authors as producers and holders of knowledge. By using the analogy of ‘old wine in new bottles’, I demonstrate that the views of earlier theorists in language politics are still relevant today.
Texts carry traces of the language, social and cultural characteristics of both the period in which they were written and the period before them. Because of this, it is important to read intertextually in order to make sense of the text. The reader needs to discover the mystery revealed by the author during the intertextual reading process, and to know where the intertextual relationship begins and ends. While adult readers may notice the intertextual relationship due to their experience with the reading process, children may have more difficulty in this situation than adults. The activities that children do with their teachers are important in the process of discovering intertextual relationships. Children’s interaction with different text types and the questions asked to understand the text support the process of establishing relationships between texts. However, the activities for the discovery of intertextual relations differ for beginning or more skilled readers. In this study, sample activities that can help beginning and advanced readers to discover intertextual relationships are presented to teachers to enable students to discover the relationships between texts, to construct meaning through questions, and to use cognitive processes.
The retranslations of Andersen's fairy tales in the twentieth century have promoted the canonization of Andersen in the modern Chinese literary system. Today, Chinese readers of different ages are fascinated by Andersen's works and the images created by him. However, the literary and cultural significance of Andersen to China lies in his influence. In this paper, the authors will first review the history of translating Andersen's fairy tales in China and then analyze some cases from Chinese literature and culture within the theoretical framework of intertextuality, in an attempt to specify the influence of Andersen on modern Chinese literature and culture. It is argued that Andersen's fairy tales have been cross‐culturally woven into Chinese children's as well as adult literature when the intertextual devices are applied by writers in their own literary creations; meanwhile the fictional elements of the tales are intertextually merged, as symbols, into other forms of cultural products where they are involved in a critical construction of modern Chinese culture.
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