210 Sentences With "intertextuality" | Random Sentence Generator

This is one example of the "intertextuality" mentioned by translator Smith.

Such intertextuality has the appearance of depth without providing much of it.

"Going for a Beer" presents the garden of intertextuality in Coover's fictional universe.

It's a novel fizzing with ideas, one that toys with timelines and intertextuality.

The posters form new layers of intertextuality expanding and challenging our relationship to and understanding of contemporary blackness.

Beyoncé's use of intertextuality, be it sonic or lyrical, draws to mind the work of Blood Orange's Dev Hynes.

Nerdwriter goes as far as to call it weaponized intertextuality and his breakdown is pretty fascinating because the moments are cheapened.

But this form of intertextuality doesn't seem as if it'll end since the movie franchises that spawned them are never ending.

Here "cosmic wind" seems to be intertextuality on a much larger scale — not only écriture, but something willfully greater than that.

La Farge loves intertextuality, nonexistent but real-seeming books, famous people lifted from the historical record and plausibly altered, the whole Borgesian shebang.

But what's really interesting is how intertextuality is now used in a world of movies dominated by sequels and adaptations and remakes and shared universes.

With each impression, the phrase gets messier, less visible, and broken into pieces: "I am not," and single words, "colored," alluding to the intertextuality and mutability of language.

When Lucy refers to the "intertextuality" that once existed between her and Alice, she uses a term coined by the French semiotician Julia Kristeva a decade after the novel takes place.

Both films are entirely constituted by intertextuality, references to 1950s B-movie science fiction, and 1970s disaster films, overtly name-checking such genre classics as The War of the Worlds, Earth v.

Throughout Square Octagon Circle she plays with two complex concepts: the palimpsest — a page from a manuscript from which the text has been removed so it can be used for another document — and intertextuality.

"Invisible Man" is also the largest work in the exhibition Dialogues: Tim Rollins & K.O.S and Glenn Ligon currently on view at the Bronx Museum of the Arts, where intertextuality underscores the exhibition's central theme.

Click here to view original GIFThe Nerdwriter has a really interesting breakdown on intertextuality in movies, or the idea of how something seen in a movie is shaped by something previously seen in something else.

In his intertextuality, he's like Virgil or Ovid: someone who came late enough in the tradition and has enough tradition behind him — T. S. Eliot wrote about this — that he can control it and also be part of it, recreating and refreshing it.

In addition to the relationship of the original Japanese-language versions of the poems to their translations, as well as the integration of historical events, interpretation of Gozo's poetry hinges on the "intertextuality" of the poems, as translator Jordan A. Yamaji Smith calls it.

As with so much of Mayröcker's work, Scarandelli's intertextuality runs deep and spans both literary and non-literary sources: Mayröcker tells writing students that they should read 10 hours a day; she immediately writes things down even while on the phone and these snippets become part of her texts.

Intertextuality does not require citing or referencing punctuation (such as quotation marks) and is often mistaken for plagiarism. Intertextuality can be produced in texts using a variety of functions including allusion, quotation and referencing. It has two types: referential and typological intertextuality. Referential intertextuality refers to the use of fragments in texts and the typological intertextuality refers to the use of pattern and structure in typical texts.

The Australian media scholar John Fiske has made a distinction between what he labels 'vertical' and 'horizontal' intertextuality. Horizontal intertextuality denotes references that are on the 'same level' i.e. when books make references to other books, whereas vertical intertextuality is found when, say, a book makes a reference to film or song or vice versa. Similarly, Linguist Norman Fairclough distinguishes between 'manifest intertextuality' and 'constitutive intertextuality'.

Intertextuality is a literary discourse strategy utilised by writers in novels, poetry, theatre and even in non- written texts (such as performances and digital media).Gadavanij, Savitri. "Intertextuality as Discourse Strategy", School of Language and Communication, Retrieved 15 March 2018. Examples of intertextuality are an author's borrowing and transformation of a prior text, and a reader's referencing of one text in reading another.

Intertextuality in art: "Nur eine Waffe taugt" (Richard Wagner, Parsifal, act III), by Arnaldo dell'Ira, ca. 1930 "Intertextuality is an area of considerable ethical complexity". As intertextuality, by definition, involves the (sometimes) purposeful use of other's work without proper citation, it is often mistaken for plagiarism. Plagiarism is the act of "using or closely imitating the language and thoughts of another author without authorization-".

Some critics have complained that the ubiquity of the term "intertextuality" in postmodern criticism has crowded out related terms and important nuances. Irwin (227) laments that intertextuality has eclipsed allusion as an object of literary study while lacking the latter term's clear definition. Linda Hutcheon argues that excessive interest in intertextuality rejects the role of the author, because intertextuality can be found "in the eye of the beholder" and does not entail a communicator's intentions. By contrast, in A Theory of Parody Hutcheon notes parody always features an author who actively encodes a text as an imitation with critical difference.

"Definition of Intertextuality", "Dictionary.com", Retrieved on 15 March 2018. These references are made to influence the reader and add layers of depth to a text, based on the readers' prior knowledge and understanding. The structure of intertextuality in turn depends on the structure of influence.

Intertextuality, for media purposes, references other popular culture objects within their video, and then the audience creates their meaning of the video according to the intentional suggestion created with relationships between primary and secondary texts. In general terms, intertextuality is considered links within a context or medium that bind text to other text (Chandler, pp. 166, 2007 ). Many editors and directors use intertextuality in music videos because it combines different cultural codes taken from previous texts that are sensible for many audiences.

Optional intertextuality has a less vital impact on the significance of the hypertext. It is a possible, but not essential, intertextual relationship that if recognized, the connection will slightly shift the understanding of the text. Optional Intertextuality means it is possible to find a connection to multiple texts of a single phrase, or no connection at all. The intent of the writer when using optional intertextuality, is to pay homage to the 'original' writers, or to reward those who have read the hypotext.

In literature, bricolage is affected by intertextuality, the shaping of a text's meanings by reference to other texts.

The latter signifies the interrelationship of discursive features in a text, such as structure, form, or genre. Constitutive Intertextuality is also referred to interdiscursivity,Agger, Gunhild Intertextuality Revisited: Dialogues and Negotiations in Media Studies. Canadian Journal of Aesthetics, 4, 1999. though, generally interdiscursivity refers to relations between larger formations of texts.

Mary Orr. Intertextuality: debates and contexts. Wiley-Blackwell, 2003. .The Penguin Dictionary of Literary Terms and Literary Theory. J.A.Cuddon.

Two of his books, Intertextuality (2000) and Roland Barthes (2003), have been translated into Indonesian Japanese, Korean, and Persian.

More recent post- structuralist theory, such as that formulated in Daniela Caselli's Beckett's Dantes: Intertextuality in the Fiction and Criticism (MUP 2005), re-examines "intertextuality" as a production within texts, rather than as a series of relationships between different texts. Some postmodern theorists Gerard Genette, Palimpsests: literature in the second degree, Channa Newman and Claude Doubinsky (trans.), University of Nebraska Press, Lincoln NE and London. like to talk about the relationship between "intertextuality" and "hypertextuality" (not to be confused with hypertext, another semiotic term coined by Gérard Genette); intertextuality makes each text a "living hell of hell on earth" Kristeva, 66. and part of a larger mosaic of texts, just as each hypertext can be a web of links and part of the whole World-Wide Web.

Whilst this does seem to include intertextuality, the intention and purpose of using of another's work, is what allows intertextuality to be excluded from this definition. When using intertextuality, it is usually a small excerpt of a hypotext that assists in the understanding of the new hypertext's original themes, characters or contexts. They use a part of another text and change its meaning by placing it in a different context. This means that they are using other's ideas to create or enhance their own new ideas, not simply plagiarising them.

The novel has a rich focus on intertextuality, making regular references and homages to both the Indian subcontinent and Western literary traditions, histories and cultures. These sections provide a limited overview of the most important references and allusions in the novel and links to more thorough examinations of the allusions and intertextuality used throughout the novel.

Intertextuality is the shaping of a text's meaning by another text. It is the interconnection between similar or related works of literature that reflect and influence an audience's interpretation of the text. Intertextuality is the relation between texts that are inflicted by means of quotations and allusion. Intertextual figures include: allusion, quotation, calque, plagiarism, translation, pastiche and parody.

However, intertextuality is not always intentional and can be utilised inadvertently. There are two types of Intertextuality: iterability and presupposition. Iterability makes reference to the "repeatability" of certain text that is composed of "traces", pieces of other texts that help constitute its meaning. Presupposition makes a reference to assumptions a text makes about its readers and its context.

Obligatory intertextuality is when the writer deliberately invokes a comparison or association between two (or more) texts. Without this pre-understanding or success to 'grasp the link', the reader's understanding of the text is regarded as inadequate. Obligatory intertextuality relies on the reading or understanding of a prior hypotext, before full comprehension of the hypertext can be achieved.Jacobmeyer, Hannah.

"Intertextuality" is a word frequently used by Morgan in his lectures, as well as "metaliterary", a new fan favourite among his students.

Kim, Hanseong. “Comparing Gisangdo (1936) and The Waste Land (1922) – Focusing on the Intertextuality of Wheel.” Journal of Korean Modern Literature 38 (2012).

It is used with the terms cultural hybridity and intertextuality, which continue the theory of cultures, texts, and ideas mixing with one another.

Intertextuality is based on the 'creation of new ideas', whilst plagiarism is often found in projects based on research to confirm your ideas.

Psychology Press. p. 142.Caldwell, Thomas (2011). "Intertextuality". Film Analysis Handbook: Essential Guide to Understanding, Analysing and Writing on Film. Insight Publications. p. 152.

As a literary critic, he has published numerous books, including Harold Bloom: Towards a Poetics of Conflict (1994), Intertextuality (2000), and Roland Barthes (2003).

Juvan, Marko. 2008. History and Poetics of Intertextuality. West Lafayette, IN: Purdue University Press, p. 22. later Slovenized as ',Janez Svetokriški, O. F. M. Cap.

"The proverb process: Intertextuality and proverbial innovation in popular culture". University of Pennsylvania dissertation.Stephen David Winick. 2013. Proverb is as proverb does. Proverbium30:377-428.

An early 20th century example of intertextuality which influenced later postmodernists is "Pierre Menard, Author of the Quixote" by Jorge Luis Borges, a story with significant references to Don Quixote which is also a good example of intertextuality with its references to Medieval romances. Don Quixote is a common reference with postmodernists, for example Kathy Acker's novel Don Quixote: Which Was a Dream. References to Don Quixote can also be seen in Paul Auster's post-modern detective story, City of Glass. Another example of intertextuality in postmodernism is John Barth's The Sot-Weed Factor which deals with Ebenezer Cooke's poem of the same name.

Linguist Norman Fairclough states that "intertextuality is a matter of recontextualization".Fairclough, Norman. Analysing Discourse: Textual Analysis for Social Research. New York: Routledge, 2003, p. 51.

By focusing on intertextuality and the subjectivity of time, Pulp Fiction demonstrates the postmodern obsession with signs and subjective perspective as the exclusive location of anything resembling meaning.

Bauman, Richard. 2004. “’That I Can’t Tell You’: Negotiating Performance with a Nova Scotia Fisherman.” In A World of Others’ Words: Cross-Cultural Perspectives on Intertextuality, 109-127.

Tawfiq compared al-Mutanabbi's panegyrics to Sayf al- Daula, with Mohamed Hassanein Heikal's essays to late Egyptian president Gamal Abdel Nasser.Rybalkin S. Intertextuality in Hasan Tawfiq's poetry. - Kiev, 2013. - 92 p.

Hutcheon, Linda. A Theory of Parody: The Teachings of Twentieth-Century Art Forms. New York: Methuen, 1985. However, there have also been attempts at more closely defining different types of intertextuality.

Since postmodernism represents a decentred concept of the universe in which individual works are not isolated creations, much of the focus in the study of postmodern literature is on intertextuality: the relationship between one text (a novel for example) and another or one text within the interwoven fabric of literary history. Intertextuality in postmodern literature can be a reference or parallel to another literary work, an extended discussion of a work, or the adoption of a style. In postmodern literature this commonly manifests as references to fairy tales—as in works by Margaret Atwood, Donald Barthelme, and many others—or in references to popular genres such as sci-fi and detective fiction. Often intertextuality is more complicated than a single reference to another text.

There are two central attributes of internet memes: creative reproduction of materials and intertextuality. Creative reproduction refers to “parodies, remixes, or mashups,” and include notable examples such as “Hitler’s Downfall Parodies,” and “Nyan Cat,” among others. Intertextuality may be demonstrated through memes that combine disparate cultures; for example, a meme may combine United States politician Mitt Romney's assertion of the phrase “binders full of women” from a 2012 US presidential debate with the Korean pop song "Gangnam style" by overlaying the politician's quote onto a frame from Psy's music video where paper blows around him. The intertextuality in the example gives new meaning to the paper blowing around Psy, the meme indexes intertextual practices in political and cultural discourses of two nations.

Johnson- Eilola and Selber write that assemblage is influenced by intertextuality and postmodernism. The authors discuss the intertextual nature of writing and assert that participation in existing discourse necessarily means that composition cannot occur separate from that discourse. They state that "productive participation involves appropriation and re-appropriation of the familiar" in a manner that conforms to existing discourse and audience expectations. In reference to intertextuality, Johnson-Eilola and Selber cite The Social Life of Information by John Seely Brown and Paul Duguid.

Using intertextuality in music videos allow a viewer to identify with their theoretical framework of knowledge, and use it to define their identity. This approach can be used to gain popularity for referenced ideas, and influence consumers with a persuasive agenda. Material Girl, by Madonna is an example of using intertextuality because she is acting like Marilyn Monroe in Diamonds are a Girl's Best Friend. This is a direct cinematic reference which allows an active audience to draw conclusions to the meaning of the message.

It was designed to appeal to "the ageing lager drinker...looking for a mature pint."Meinhof, U. H. & Smith, Jonathan M., eds. Intertextuality and the Media: From Genre to Everyday Life; Manchester University Press, 2000; p.

References to pop-culture (like the above mention of crunk) and intertextuality with scholastic figures as varied as Ralph Waldo Emerson,Cistulli, Carson. A Century of Enthusiasm University of Massachusetts Amherst, 2007, p. 1, p. 19, p.

Viewed 15 March 2013. This 'history of reception' works to determine the intertextuality and 'historical expectation of readers' as variances in readings and emphasises Jauss's primary concern of making the 'new and challenging' become 'familiar and effortless'.

While intertextuality is a complex and multileveled literary term, it is often confused with the more casual term 'allusion'. Allusion is a passing or casual reference; an incidental mention of something, either directly or by implication. This means it is most closely linked to both obligatory and accidental intertextuality, as the 'allusion' made relies on the listener or viewer knowing about the original source. It is also seen as accidental, however, as they are normally phrases that are so frequently or casually used, that the true significance of the words is not fully appreciated.

Based in New York City, Ligon engages in intertextuality with other works from the visual arts, literature, and history, as well as his own life. He is noted as one of the originators of the term Post-Blackness.

Volume 25, Issue 1, pp 1-38 introduces the concept of intertextuality to the analysis of work practice at a hospital. The study shows that the ensemble of documents used and produced at a hospital department can be said to form a corpus of written texts. On the basis of the corpus, or subsections thereof, the actors in cooperative work create intertext between relevant (complementary) texts in a particular situation, for a particular purpose. The intertext of a particular situation can be constituted by several kinds of intertextuality, including the complementary type, the intratextual type and the mediated type.

This intertextual view of literature, as shown by Roland Barthes, supports the concept that the meaning of a text does not reside in the text, but is produced by the reader in relation not only to the text in question, but also the complex network of texts invoked in the reading process. While the theoretical concept of intertextuality is associated with post-modernism, the device itself is not new. New Testament passages quote from the Old Testament and Old Testament books such as Deuteronomy or the prophets refer to the events described in Exodus (for discussions on using 'intertextuality' to describe the use of the Old Testament in the New Testament, see Porter 1997; Oropeza 2013; Oropeza & Moyise, 2016). Whereas a redaction critic would use such intertextuality to argue for a particular order and process of the authorship of the books in question, literary criticism takes a synchronic view that deals with the texts in their final form, as an interconnected body of literature.

The Dead Fathers Club is a 2006 novel by Matt Haig. The book was published in the United Kingdom by Vintage and in the United States by Viking. The story is a retelling of William Shakespeare's Hamlet, and thus an example of intertextuality.

Oddo, John. Intertextuality and the 24-Hour News Cycle: A Day in the Rhetorical Life of Colin Powell's U.N. Address. East Lansing, MI: Michigan State University Press, 2014. A number of scholars have observed that recontextualization can have important ideological and political consequences.

Channa Newman & Claude Doubinsky (Lincoln, NB: University of Nebraska Press) and Graham Allan, Intertextuality (London/New York: Routledge, 2000); Linda Hutcheon, Narcissistic Narrative. The Metafictional Paradox (London: Routledge, 1984) and Patricia Waugh, Metafiction. The Theory and Practice of Self-conscious Fiction (London: Routledge 1988).

These symptoms of intertextuality could refer to style, medium, content, narrative, narrative structure, costume, Mise-en-scène, character, background, cinematography. It could refer to cultural background of those who make the movie and cultural background of those in the movie, of spectatorship, of spectacle.

In 1996, Klamen began to exhibit salon-style, multi-canvas installations of two-dozen or more eclectic paintings that explored taxonomy as a method, while providing a new mode of expression through the intertextuality of the canvasses.Klamen, David. "Multi-canvas Installations". Retrieved August 31, 2018.

Genre, Intertextuality, and Social Power. Journal of Linguistic Anthropology 2(2):131-72. (by Charles L. Briggs and Richard Bauman). 1992\. 'Since I Am a Woman, I Will Chastise My Relatives': Gender, Reported Speech, and the (Re)production of Social Relations in Warao Ritual Wailing.

Factoring in intertextuality, the goal of academic writing is not simply creating new ideas, but to offer a new perspective and link between already established ideas. This is why gathering background information and having past knowledge is so important in academic writing. A common metaphor used to describe academic writing is "entering the conversation", a conversation that began long before you got there and will continue long after you leave. A quote from Kenneth Burke encapsulates this metaphor: Intertextuality plays into this because without it there would be no conversations, just hundreds of thousands of writings not connected or able to build on each other.

She is currently a poetry and comparative literature professor at Tel Aviv University. Her academic work includes a focus on cognitive intertextuality, cultural memory, and cultural representations. Ben-Porat also works on CULTOS, a digital library of multimedia linked on the basis of their intertextual relations.

Likewise, Emery Waterman shares a name—and many character traits—with Harold Emery Lauder from The Stand. Rose Red is referred to in King's Black House as one of the places where "slippage" occurs.McAleer, Patrick. Inside the Dark Tower Series: Art, Evil, and Intertextuality in the Stephen King Novels.

Film critic Ismail Xavier stated that the film treats the bandit's social millieu with irony, making use of collage, intertextuality and pastiche, in contrast with the Cinema Novo's naturalistic filmmaking. In 2015, The Red Light Bandit was chosen by Abraccine as the sixth best Brazilian film of all time.

In addition, the concept of intertextuality has been used analytically outside the sphere of literature and art. For example, Christensen (2016) Christensen, L.R. (2016). On Intertext in Chemotherapy: an Ethnography of Text in Medical Practice. Computer Supported Cooperative Work (CSCW): The Journal of Collaborative Computing and Work Practices.

This interconnected body extends to later poems and paintings that refer to Biblical narratives, just as other texts build networks around Greek and Roman Classical history and mythology. Bullfinch's 1855 work The Age Of Fable served as an introduction to such an intertextual network; according to its author, it was intended "...for the reader of English literature, of either sex, who wishes to comprehend the allusions so frequently made by public speakers, lecturers, essayists, and poets...". Sometimes intertextuality is taken as plagiarism as in the case of Spanish writer Lucía Etxebarria whose poem collection Estación de infierno (2001) was found to contain metaphors and verses from Antonio Colinas. Etxebarria claimed that she admired him and applied intertextuality.

Robert Coover's Pinocchio in Venice, for example, links Pinocchio to Thomas Mann's Death in Venice. Also, Umberto Eco's The Name of the Rose takes on the form of a detective novel and makes references to authors such as Aristotle, Sir Arthur Conan Doyle, and Borges.Graham Allen. Intertextuality. Routledge, 2000. . pg. 200.

Many scholars approach children's literature from the perspective of literary studies, examining the text as text without focus on audience. Stephens and McCallum (1998) discuss the intertextuality of children's literature, while Rose explores the identifying characteristics of the genre. Nodelman (1990) looks at the synthesis of text and illustration in picturebooks.

Within days the poem had spread throughout the country and the Arab world.Snir, Reuven. "'Other Barbarians Will Come': Intertextuality, Meta-Poetry, and Meta- Myth in Mahmud Darwish's Poetry": Conclusion: "The Poet Cannot Be But a Poet", in Hala Khamis Nassar and Najat Rahman (eds), Mahmoud Darwish, Exile's Poet: Critical Essays.

Just as machinima can be the cause of legal dispute in copyright ownership and illegal use, it makes heavy use of intertextuality and raises the question of authorship. Machinima takes copyrighted property (such as characters in a game engine) and repurposes it to tell a story, but another common practice in machinima-making is to retell an existing story from a different medium in that engine. This re-appropriation of established texts, resources, and artistic properties to tell a story or make a statement is an example of a semiotic phenomenon known as intertextuality or resemiosis. A more common term for this phenomenon is “parody”, but not all of these intertextual productions are intended for humor or satire, as demonstrated by the Few Good G-Men video.

Gerpla is a 1952 Icelandic novel by Halldór Laxness based on the Old Icelandic Fóstbræðra saga.Ástráður Eysteinsson, 'Is Halldór Laxness the Author of Fóstbræðra saga? On the Author Function, Intertextuality, Translation, and a Modern Writer’s Relationship with the Icelandic Sagas', trans. by Julian Mendoza Scandinavian-Canadian Stuies/Études Scandinaves au Canada, 26 (2019), 132-55.

Gerard Genette (1997) Paratexts p.18Hallo, William W. (2010) The World's Oldest Literature: Studies in Sumerian Belles- Lettres p.608Cancogni, Annapaola (1985) The Mirage in the Mirror: Nabokov's Ada and Its French Pre-Texts pp.203-213 Intertextuality is a literary device that creates an 'interrelationship between texts' and generates related understanding in separate works.

Edwards and Tryon mention that parody has become the most important form of critical intertextuality. Often, the creator of a political mashup will completely flip the meaning in order to make it funny, some mashup artists choose to make an entirely manufactured meaning from source material. Notable examples of political mashup videos and artists can be found below.

Dragomirescu, p. 55 Largely a parody of its classical model, Romeo și Julietta la Mizil followed the conflict of National Liberals and Conservatives, "with Shakespearean situations translated to Mizil's urban conditions." It is also heavily indebted to Caragiale, to the point of intertextuality,Pârvulescu, pp. 83–85 and, as Eftimiu recalls, "readers probably associated" it with O scrisoare pierdută.

Certain data beliefs and assumptions concerning the Gospel have become so dominant that very little progress has been made in the history of interpretation of the Gospel (see e.g. Peabody 1987:3ff). However the intertextuality of the Gospel of Mark has been recognized by scholars such as Thomas L. Brodie, Willem S. Vorster, Dennis R. MacDonald, and Bartosz Adamczewski.

The pleasure of recognition: Intertextuality in the talk of preschoolers during shared reading and with mothers and teachers. Early Years: An International Journal of Research and Development, 27(1), 77-93. doi: 10.1080/09575140601135163 # Torr, J. (2004). Talking about picture books: The influence of maternal education on four-year-old children’s talk with mothers and preschool teachers.

Yet another piece of music praising Cleofa, the ballata Tra quante regione was composed in the 1420s by Hugo de Lantins to celebrate her marriage to the Byzantine prince.J. Michael Allsen, "Intertextuality and Compositional Process in Two Cantilena Motets by Hugo de Lantins", The Journal of Musicology, Vol. 11, No. 2 (Spring, 1993), p. 176, footnote 6.

Pym's novels are known for their intertextuality. All of Pym's novels contain frequent references to English poetry and literature, from John Keats to Frances Greville. Additionally, Pym's novels function as a shared universe, in which characters from one work can cross over into another. Usually the reappearances are in the form of brief cameos or mentions by other characters.

It was directed by D. W. Griffith (with cinematography by Arthur Marvin), whose experiments with naturalistic lighting were deemed a great success; he later named it as his greatest film. An adaptation of A Blot in the 'Scutcheon was to follow in 1912,Mikhail Iampolskiy. The memory of Tiresias: intertextuality and film. University of California Press, 1998.

This insular and limited term has been critiqued by Özdamar herself, who would rather be seen as an individual than part of a category. Early scholarship often looked at Özdamar's work through a sociological lens focusing on language, identity and life writing. In the 2000s, Özdamar's work was more closely interlinked with postcolonial theory and accentuated her dealing with memory, translation and intertextuality.

According to the author, the novel is a tragedy, something which is evident in the plot's denouement of inevitable death and incest, the tragedy being "in the context, not the characters." Like much of Srdić's work, it relies heavily on intertextuality, featuring connections to, besides those already mentioned, Jerzy Kosiński, William Faulkner, Georges Bataille, Godflesh, Khanate, etc. It also comprises a discography and videography section.

While Whitt and his secretary dig into the seafloor, Xavier and his concubine Olivia (collectively dubbed X-O) make a solitary escape into the cosmos. Cubleșan reads here a warning against "man's isolation within the circle of his self-sufficiency".Cubleșan, p.90 As philologist Elvira Sorohan notes, there are various tributes to the Czechoslovak science-fiction classic Karel Čapek, to the point of intertextuality.

BookTube, rather than a collection of disparate videos, is often considered a community of video makers and watchers with its own culture. There is a shared vocabulary (largely drawn from the wider bookish community), intertextuality (whereby BookTubers react and respond to other BookTubers), common traditions, and some broadly shared values.A classic rainbow shelfie is a staple of the bookish community, and is also a favorite BookTube backdrop.

The saga is the basis for Halldór Laxness's novel Gerpla,Ástráður Eysteinsson, 'Is Halldór Laxness the Author of Fóstbræðra saga? On the Author Function, Intertextuality, Translation, and a Modern Writer’s Relationship with the Icelandic Sagas', trans. by Julian Mendoza Scandinavian-Canadian Stuies/Études Scandinaves au Canada, 26 (2019), 132-55. and a key source for Dauðans óvissi tími, a 2004 novel by Þráinn Bertelsson.

Intertextuality and intertextual relationships can be separated into three types: obligatory, optional and accidental. These variations depend on two key factors: the intention of the writer, and the significance of the reference. The distinctions between these types and those differences between categories are not absolute and exclusive but instead, are manipulated in a way that allows them to co-exist within the same text.

Allusion is most often used in conversation, dialogue or metaphor. For example, "I was surprised his nose was not growing like Pinocchio's." This makes a reference to The Adventures of Pinocchio, written by Carlo Collodi when the little wooden puppet lies. If this was obligatory intertextuality in a text, multiple references to this (or other novels of the same theme) would be used throughout the hypertext.

It thus establishes an intertextuality and a certain connection with them. By situating itself and the story it has to tell, within this matrix of the 1970s radical Bengali cinema, Ghose anchors the film squarely within that time. The mood and the events certainly, but even the way black and white shots are used, underlines a somewhat documentary – and thus temporally limited – way these sequences are put to use.

Unlike most other Churches, the Ethiopian Church accepts 1 Enoch and the Book of Jubilees as canonical.Loren T. Stuckenbruck, Gabriele Boccaccini Enoch and the Synoptic Gospels: Reminiscences, Allusions, Intertextuality SBL Press 2016 p. 133 As a result, the Church believes that human sin does not originate in Adam's transgression alone, but also from Satan and other fallen angels. Together with demons, they continue to cause sin and corruption on earth.

A STUDY IN CHARACTERIZATION AND INTERTEXTUALITY Wim J.C. Weren "In two of his novels, the Portuguese writer José Saramago (1922–2010) criticized Jewish and Christian religious ..." In an earlier novel, "The Gospel According to Jesus Christ", Saramago retold the main events of the life of Jesus Christ, as narrated in the New Testament, presenting God as the villain. In Cain, Saramago focuses on the Hebrew Bible (mainly the Pentateuch).

"Ever After: A study in intertextuality", Carl Hanser Verlag, 1998. Retrieved on 15 March 2018. As an example, Maria Mitchell analyzes the obligatory intertexuality of Tom Stoppard's 'Rosencrantz and Guildenstern are Dead' with Shakespeare's 'Hamlet'. It is in Hamlet where we first meet Rosencrantz and Guildenstern, and as the plot of Rosencrantz and Guildenstern are Dead unravels, specific scenes from Hamlet are actually performed and viewed from a different perspective.

Oddo, John. "Precontextualization and the Rhetoric of Futurity: Foretelling Colin Powell's U.N. Address on NBC News," Discourse & Communication, 7(1), 2013, 25-53. According to Oddo, precontextualization is a form of anticipatory intertextuality wherein "a text introduces and predicts elements of a symbolic event that is yet to unfold". For example, Oddo contends, American journalists anticipated and previewed Colin Powell's U.N. address, drawing his future discourse into the normative present.

James Joyce's 1922 novel Ulysses bears an intertextual relationship to Homer's Odyssey. Julia Kristeva was the first to coin the term "intertextuality" (intertextualité) in an attempt to synthesize Ferdinand de Saussure's semiotics—his study of how signs derive their meaning within the structure of a text—with Bakhtin's dialogism—his theory which suggests a continual dialogue with other works of literature and other authors—and his examination of the multiple meanings, or "heteroglossia", in each text (especially novels) and in each word. For Kristeva, "the notion of intertextuality replaces the notion of intersubjectivity" when we realize that meaning is not transferred directly from writer to reader but instead is mediated through, or filtered by, "codes" imparted to the writer and reader by other texts. For example, when we read James Joyce's Ulysses we decode it as a modernist literary experiment, or as a response to the epic tradition, or as part of some other conversation, or as part of all of these conversations at once.

Rosalind Ivanić (born 1949) is a Yugoslav-born British linguist. She is currently an honorary professor at the Department of Linguistics and English Language of Lancaster University, United Kingdom. Her research focuses on applied linguistics with a special focus on literacy, intertextuality, multimodal communication, adult literacy, educational linguistics, critical language awareness, punctuation, and second language writing. Along with Theo van Leeuwen and David Barton, she is considered one of the most prominent researchers on literacy.

Theodor Birt's well-known The Nature of the Ancient Book (1882)Das antike Buchwesen in seinem Verhältnis zur Literatur, 1882. substantially widened research on stichometry. Birt saw that Graux's breakthrough led to a cascade of insights about scribal practices and publishing, citations and intertextuality, and the kinds of formats and editions used in antiquity. Stichometry thus led to a broader study of the spatial organization of ancient books and their social, economic, and intellectual roles.

But he fails to demonstrate authorial intention while he, in fact, neglects the OT intertextuality that is broadcast in this literature." Daniel Gullotta from Stanford similarly writes "MacDonald’s list of unconvincing comparisons goes on and has been noted by numerous critics. Despite MacDonald’s worthy call for scholars to reexamine the educational practices of the ancient world, all of the evidence renders his position of Homeric influential dominance untenable."Gullotta, Daniel N. "On Richard Carrier’s Doubts.

Due to his personal connections (most notably with his teacher from the conservatory, classical composer Pancho Vladigerov) and other fortunate circumstances, Leviev was able to overcome some of the aesthetic conservatism. He found folk music tradition, with the asymmetrical complex rhythms, distinctive melodic motifs, and emphasis on virtuosity and improvisation typical for Bulgarian music, to be a logical choice to translate into jazz.Levy, Claire. Parody Rhetoric, Intertextuality and the Groovy Aesthetics in Bulgarian Jazz.

Hrimiuc, pp. 312–316, 321–322, 329–331; Mironescu (2008), passim The alter ego, "Harrow", is only present (and mentioned by name) in the rhyming Predoslovie ("Foreword"), but is implicit in all the stories.Hrimiuc, pp. 321–322; Mironescu (2008), p. 16 Also in Neobositulŭ Kostakelŭ, Teodoreanu's love for role-playing becomes a study in intertextuality and candid stupidity. Pantele is a reader of Miron Costin, but seemingly incapable of understanding his literary devices.

Allen is Professor of Literature at University College Cork. His book for Routledge's New Critical Idiom series, Intertextuality (2000), had a second edition in 2011 and eight re-prints since first publication. In 2008, he published a book on Frankenstein and a monograph on Mary Shelley. He published a monograph on Harold Bloom, Harold Bloom: Towards a Poetics of Conflict (1994), and later co-edited the Salt Companion to Harold Bloom (2007).

The term is used for works of fiction which combine the literary devices of metafiction with historical fiction. Works regarded as historiographic metafiction are also distinguished by frequent allusions to other artistic, historical and literary texts (i.e. intertextuality) in order to show the extent to which works of both literature and historiography are dependent on the history of discourse. Although Hutcheon said that historiographic metafiction is not another version of the historical novel, there are scholars (e.g.

The book consists of seven parts and 59 chapters. Watkins uses the comparative method to find cognate formulas and mythological features that could be traced back to a common past in ancient texts written in Indo-European languages. He claims that it is not possible to understand fully the traditional elements in an early Indo-European poetic text without the background of what he calls a "genetic intertextuality" of particular formulas and themes in all languages of the family.

All of these novels, except Captain Bluebear and Rumo, include prefaces that explains to the reader that the fictional character Hildegunst von Mythenmetz is the actual author and that Walter Moers only translated the books from the Zamonian language to German. In the Zamonia series, each book contains detailed illustrations drawn by Moers; many portray creatures that Moers invented himself. Apart from these drawings, neologisms, anagrams and intertextuality play a key role in the style of Moers' novels.

Intertextuality, or the relationships between texts, that exists in La cueva de Salamanca includes relationships with other works of Cervantes including El licenciado vidriera and El viejo celoso. As discussed previously, El licenciado vidriera references the location of la cueva de Salamanca. Then, El viejo celoso shares a common theme with La cueva de Salamanca of deception. In both works the wife is unhappy with her marriage and commits adultery right under the nose of her husband.

The film tells the interweaving stories of gangsters, a boxer, and robbers. The film breaks down chronological time and demonstrates a particular fascination with intertextuality: bringing in texts from both traditionally "high" and "low" realms of art. This foregrounding of media places the self as "a loose, transitory combination of media consumption choices." Pulp Fiction fractures time (by the use of asynchronous time lines) and by using styles of prior decades and combining them together in the movie.

Program Oral Interpretation is an event all about intertextuality—this specific event differs from the rest because it focuses on the interrelationship between works of literature. Through the medium of performance, we take what constitutes a text to be almost anything when recorded somehow. Unlike other categories in the Speech and Debate medium, this means you can use anything that is considered text throughout your program to construct a cohesive story. That specifically allows prose, poetry and drama.

The last novel describes the lives of the residents of the House on the Embankment in the 1930s, many of whom were killed during the Great Purge of 1937.See for a discussion of the intertextuality in The House on the Embankment In 1973, Trifonov published the historical novel The Impatient Ones. The novel describes the assassination of Alexander II of Russia in 1881 by the People's Will party. It was nominated for Nobel prize by Heinrich Böll.

Intratextuality is a term that is derived from intertextuality, but is considered combining secondary references for marketing and promotional purposes. This type of technique is also called anchorage, found by Roland Barthes: anchoring text to a context that changes the intentional meaning. An example of this would be, the music video, Right Now, by Van Halen. The lyrics of the song Right Now suggest an entirely different meaning than the social empowering messages shown through the music video.

"Bizzell, Patricia. "Cognition, Convention, and Certainty: What We Need to Know about Writing." PRE/TEXT 3.3 (1982): 213–43. Print. Social constructionist James Porter notes the "intertextuality" of all writing as interdependent, based on the principle that all speech and writing evolves from presumed meaning and accepted evidence as defined by each "discourse community," which Porter defines as "a group of individuals bound by a common interest who communicate through approved channels and whose discourse is regulated.

Intertextuality is further demonstrated in machinima not only in the re-appropriation of content but in artistic and communicatory techniques. Machinima by definition is a form of puppetry, and thus this new form of digital puppetry employs age-old techniques from the traditional artform. It is also, however, a form of filmmaking, and must employ filmmaking techniques such as camera angles and proper lighting. Some machinima takes place in online environments with participants, actors, and "puppeteers" working together from thousands of miles apart.

For example, Low riders used irony to poke fun at popular culture's perception of desirable vehicles, and bands like Los Illegals provided their listening communities with a useful vocabulary to talk about oppression and injustice. Michael M.J. Fisher breaks down the following main components of postmodern sensibility: "bifocality or reciprocity of perspectives, juxtaposition of multiple realities-intertextuality, inter- referentiality, and comparisons through families of resemblance."Michael M.J. Fischer, "Ethnicity and the Post-Modern Arts of Memory," in James Clifford and George Marcus, eds.

Dan M. Harries (born 1963, in Pomona, California) is an artist and theorist of visual culture and media. After twenty years as a professor in Australia, England, and the U.S., and well known for his theories of parody, new media, postmodernism and the image, Harries began to put his teachings into practice and pursue his art full-time. In 2008, he established his studio, Harries + Fayé, in Hollywood's historic Artisan's Patio. His limited edition abstract photographs explore his theories of intertextuality and ambiguity.

The Maqamat are also known for their intertextuality and narrative construction. According to Ailin Qian, > The core of the Hamadhānian maqāmah is dialogue, and al-Hamadhānī, by using > techniques such as isnād and framing, simulated some kind of public > presentation. Al-Hamadhānī’s efforts to preserve the characteristics of oral > performance in his maqāmāt played a great role in creating their prosimetric > style. A century later, these maqamat inspired the maqamat of Al-Hariri of Basra, which in turn inspired the Hebrew Tahkemoni.

The idea of textual relation between the verses of a chapter has been discussed under various titles such as nazm and munasabah in non- English literature and coherence, text relations, intertextuality, and unity in English literature. Hamiduddin Farahi, an Islamic scholar of the Indian subcontinent, is known for his work on the concept of nazm, or coherence, in the Quran. Fakhruddin al-Razi (died 1209 CE), Zarkashi (died 1392) and several other classical as well as contemporary Quranic scholars have contributed to the studies.

The idea of textual relation between the verses of a chapter has been discussed under various titles such as nazm and munasabah in non-English literature and coherence, text relations, intertextuality, and unity in English literature. Hamiduddin Farahi, an Islamic scholar of the Indian subcontinent, is known for his work on the concept of nazm, or coherence, in the Quran. Fakhruddin al-Razi (died 1209 CE), Zarkashi (died 1392) and several other classical as well as contemporary Quranic scholars have contributed to the studies.

As a quirky, bookish, decidedly highbrow genre, metaphysical detective stories have also received provocative criticisms among literary critics. The critics focus on literary theories to evaluate the approach and effect of the genre of metaphysical detective stories. Jacques Lacan examined Poe's story and criticised that the story generated a notorious chain of ripostes as well as other problems of deconstruction, intertextuality, and psychoanalytic. Other critics say that metaphysical detective fictions twist the traditional ways in which narratives tell stories and the ways readers appreciate them.

The works of the Kangaroo Chronicles are not actual chronicles but satiric and episodic novels. The books show a high degree of allusions, intertextuality, word play, punch lines and running gags. All four books reference popular culture and contain homages to movies (among them Star Wars, The Lord of the Rings, Fight Club) and literature. The allusions to the Viet Cong, the GDR, the history of communist ideology and its various movements, politics and contemporary history require a certain amount of historical and general knowledge.

She was invited guest of the Committee on Cultural and Media Affairs of the German Bundestag in cooperation with the Brandenburg Gate Foundation at the Leipzig Book Fair 2011. She is also laureate of the Isidora Sekulić Award 2013 for her prose Krosfejd. The title is the Serbian term for Crossfade. This prose can be described as mixture (crossfade) of two inner voices of the main character, its fragmented narration, intertextuality and imagery reflects motifs of longing for love and self-knowledge in searching for individual authenticity.

The novel also makes use of intertextuality with Vonnegut's other works. In addition to Kilgore Trout, characters from other Vonnegut books which appear here include Eliot Rosewater and Rabo Karabekian. Rosewater was the main character in God Bless You, Mr. Rosewater (1965) and a minor character in Slaughterhouse-Five (1969), while Karabekian later became the main character in Bluebeard (1988). Hoover's secretary, Francine Pefko, previously appeared in Cat's Cradle (1963), where she performed secretarial duties at General Forge and Foundry, in Ilium, New York.

The World-Wide Web has been theorized as a unique realm of reciprocal intertextuality, in which no particular text can claim centrality, yet the Web text eventually produces an image of a community—the group of people who write and read the text using specific discursive strategies. One can also make distinctions between the notions of "intertext", "hypertext" and "supertext". Take for example the Dictionary of the Khazars by Milorad Pavić. As an intertext, it employs quotations from the scriptures of the Abrahamic religions.

Winnie is embedded in a "low mound", "the mother earth symbol to end all other mother earth symbols".Brater, E., ‘Intertextuality’ in Oppenheim, L., (Ed.) Palgrave Advances in Samuel Beckett Studies (London: Palgrave, 2004), p. 34 She lives in a deluge of never-ending light from which there is no escape: even the parasol she unfolds at one point ignites, leaving her without protection. We learn that she has not always been buried in this way but we never discover how she came to be trapped so.

As well as being of interest to students of Pater's ideas and personality (Marius's diary in Chapter XXV has a Montaigne- like candour unusual for Pater) Marius the Epicurean is of interest as "one of the more remarkable fictional experiments of the late nineteenth century".Walter Pater, Marius the Epicurean, ed. Harold Bloom (New York, 1970), Introduction, p.x Pater's interspersing of narrative with classical and historical texts – borrowings acknowledged and unacknowledged, translations and adaptations – makes Marius the Epicurean an early example of a novel enriched by intertextuality.

Nevertheless, a commentary on part of Book II of Lucretius has been published posthumously by his wife Peta. Moreover, Fowler wrote Subject Reviews in Latin Literature for the periodical Greece and Rome from 1986 to 1993 and was, together with his wife Peta, area editor for Latin literature in the third edition of the Oxford Classical Dictionary (see in particular his contributions on Lucretius, Virgil and Literary Theory and the Classics). As for literary theory, he worked in particular on irony, closure and intertextuality.

There is also an ironical reference back to the source of Wilmet Forsyth's name, which is taken from the heroine of Charlotte M. Yonge's The Pillars of the House. There Yonge's Wilmet Underwood was the mainstay of her family, while the performance of Pym's narrator falls rather short of her achievement.The Charlotte M. Yonge Fellowship, 14th May 2011 meeting Another form of intertextuality is the way characters from one Pym novel reappear in another. In his introduction to A Glass of Blessings, John Bayley refers to it as "one of her most engaging devices".

Cult films can be used to help define or create groups as a form of subcultural capital; knowledge of cult films proves that one is "authentic" or "non-mainstream". They can be used to provoke an outraged response from the mainstream, which further defines the subculture, as only members could possibly tolerate such deviant entertainment. More accessible films have less subcultural capital; among extremists, banned films will have the most. By referencing cult films, media can identify desired demographics, strengthen bonds with specific subcultures, and stand out among those who understand the intertextuality.

She then published another poetry collection, Hallar el modo, in 1989. The title of this collection alludes to Rosario Castellanos’ famous poem, “Meditación en el umbral,” and has thus been seen as consciously feminist. Her third poetry collection, Revi(c)itaciones y homenajes, published in 1998, uses intertextuality by alluding to concepts and figures that are prominent in the literary field such as José Martí, Jorge Luis Borges, Rainer Maria Rilke. By doing so, critics see this collection as engaging with postmodern concepts, and questioning female identity through the use of a multiplicity of voices.

Actress Jan Hooks voiced Manjula in the episode. "Eight Misbehavin'" was written by Matt Selman and directed by Steven Dean Moore as part of the eleventh season of The Simpsons (1999–2000). Guest starring in the episode were Jan Hooks (as Manjula), Garry Marshall (as Larry Kidkill), and Butch Patrick (as himself). According to Jonathan Gray in his 2006 book Watching with The Simpsons: Television, Parody, and Intertextuality, the episode makes fun of the "conflation of real time and occasional predilection for time jumps" often seen in sitcoms.

Some of the themes that feature prominently in Ledes' films are mental illness, the NYC Greek Community, racial identity, the economic crisis, neo-Nazism, Alzheimer disease, lobotomy, politics. The concepts of French psychoanalyst Jacques Lacan figure in the texts of Ledes' films which also underscore a post-Marxist form of ideology. His films are noted for the multitude of literary and cultural allusions, references to other films and/or literature works, often being characterized as intellectual. He uses techniques such as genre subversion, close ups, narrative rhizome, intertextuality, montage, deconstruction.

He is a specialist in the epic tradition of Italian literature from Dante to Tasso and the author and editor of several books, including Dante and Ovid: Essays in Intertextuality and a translation of The Cabala of Pegasus by Giordano Bruno (Yale University Press). He has also served as the organizer of various library and museum exhibits of rare dance books and prints. His most recent book, co-authored with Debra H. Sowell, Francesca Falcone, and Patrizia Veroli, is Icônes du Ballet Romantique: Marie Taglioni et sa famille (Gremese, 2016).

The Proverb Process: Intertextuality and Proverbial Innovation in Popular Culture. University of Pennsylvania: PhD dissertation. In at least one case, it appears that a proverb deliberately created by one writer has been naively picked up and used by another who assumed it to be an established Chinese proverb, Ford Madox Ford having picked up a proverb from Ernest Bramah, "It would be hypocrisy to seek for the person of the Sacred Emperor in a Low Tea House."Hawthorn, Jeremy, ‘Ernest Bramah: Source of Ford Madox Ford’s Chinese Proverb?’ Notes and Queries, 63.2 (2016), 286-288.

Hartman has published in the areas of New Literacies and Intertextuality. This area of research has focused on the discussion of multiple texts and building sustainable cognition along with a transition to online reading. This area of research began through Dr. Hartman’s work on his Dissertation “Eight Readers Reading: The Intertextual Links of Able Readers Using Multiple Passages ” (winner of the International Reading Association’s Dissertation of the Year Award) and continues with his most recent, in print, publication “From Print to Pixels: The Evolution of Cognitive Conceptions of Reading Comprehension” (Hartman, Morsink, and Zheng, 2010).

She also worked at military hospitals during the Spanish Civil War and early in World War II. She was in Nigeria for the rest of the second World War, in part to provide intelligence on the French colonies to the Political and Economic Research Organization. Two more books, African Conversation Piece (1944, a travel diary) and Beyond the Niger (1951) were written during this time.Lucy Watson, "'True Fictions': Subjectivity and Intertextuality in the Writings of Sylvia Leith-Ross" Journal of Commonwealth Literature 48(3)(September 2013): 331–347.

Anubandha chatushtaya (Sanskrit: अनुबन्ध चतुष्टय) literally means four connections, and therefore, it is four-fold in nature and content viz, – a) adhikāri ('the qualified student') who has developed ekāgrata ('single pointed mind'), chitta shuddhi ('purity of the mind') and vikshepa ('freedom from restlessness and impurity') or adhikāra (aptitude); b) vishaya ('subject matter' or 'the theme') pertaining to the Jiva-Brahman identity; c) prayojana or phalasruti ('result' or 'fruit') which is atyantika-dukha-nivritti ('complete cessation of sorrow') and paramānanda-prāpti ('attainment of supreme happiness'), and d) sambandha ('relationship' or 'intertextuality') between adhikāra, vishaya and prayojana.

The ability to re-appropriate a game engine to film a video demonstrates intertextuality because it is an obvious example of art being a product of creation-through-manipulation rather than creation per se. The art historian Ernst Gombrich likened art to the "manipulation of a vocabulary" and this can be demonstrated in the creation of machinima. When using a game world to create a story, the author is influenced by the engine. For example, since so many video games are built around the concept of war, a significant portion of machinima films also take place in war-like environments.

He was William P. Evans Fellow at the University of Otago (New Zealand) in 2012, and Fellow at the IKKM, Bauhaus University at Weimar in 2013. He has largely written on semiotics of film and television, about genres, intertextuality, and enunciation. After an expansive study on the implied spectator in film (Inside the Gaze, Indiana, 1999, or. 1986) and in television (Tra me e te, 1988), he combined in an original way close analyses of media texts and ethnographic researches of actual audiences (L’ospite fisso, 1995), defining the notion of “communicative negotiations” (Communicative Negotiation in Cinema and Television, 2002).

Postmodern literature is a form of literature that is characterized by the use of metafiction, unreliable narration, self-reflexivity, intertextuality, and which often thematizes both historical and political issues. This style of experimental literature emerged strongly in the United States in the 1960s through the writings of authors such as Kurt Vonnegut, Thomas Pynchon, Kathy Acker, and John Barth. Postmodernists often challenge authorities, which has been seen as a symptom of the fact that this style of literature first emerged in the context of political tendencies in the 1960s.Linda Hutcheon (1988) A Poetics of Postmodernism. London: Routledge, pp. 202-203.

Since Charmed ended in 2006, academics have appropriated its content and published essays and articles regarding Charmed. It has been the subject of several collective books such as Investigating Charmed: The Magic Power of TV edited by Karin and Stan Beeler, which adopts a gender perspective to carry out an in-depth analysis of third-wave feminism as shown in the series. Between 2012 and 2015, French academic and essayist Alexis Pichard delivered a set of three lectures on Charmed. In 2012, he spoke about intertextuality and postmodernism in the series at the Université de Rouen.

Late in her life, Stahl also dismissed the articles as "utterly unconvincing, painful". In 2005, researcher Ion Vartic confirmed that the allegations were partly substantiated, but suggested a more "nuanced" verdict: Dumitriu's work as a sample of collaborative fiction and intertextuality, involving both Vinea and Stahl. In these late stages of his career, Vinea befriended the traditionalist poet Vasile Voiculescu, who was bedridden after a prolonged imprisonment, but also Călinescu, who had become the country's official literary historian. He secretly envied those who had left, feeling abandoned after Costin, who also spent time in communist prisons,Cernat (2007), p.

Along with Pavao Pavličić, Tribuson is the most productive and the most popular Croatian writer from the mid-1970s to the present day. From the point of view of style, genre and subject matter Tribuson's work can be divided in several phases which all have in common the author's concern for the reader for whom he is writing, a compact plot, a great writing skill and the avoidance of any ideology. Tribuson is equally skilled in the application of postmodernist techniques: persiflage, quotes, intertextuality, autoreference, metatextuality etc. His writing is influenced by rock and pop-culture, film and sometimes even jazz.

Păun did maintain an enduring presence in the poetry of his colleagues: with the surrealist preference for intertextuality and autofiction, he made appearances in poems by Luca and had an epitaph written by Pals. In 2010, 20 of his drawings were donated to the Romanian Academy Library, and became the object of studies by art professionals. A year later, samples of his art were included in a Romanian avant-garde retrospective at the Israel Museum Mirel Horodi, "Avangarda românească la Muzeul Israel din Ierusalim", in Observator Cultural, Nr. 601, November 2011 after the Jewish Historical Museum in Amsterdam (see Stern).

The author of several scientific works on engineering, Gârbea is also a faculty member at the University of Agronomical Sciences and Veterinary Medicine. The recipient of several national awards for literature, he received critical attention for plays, short stories and novels which merge intertextuality and parody with neorealistic elements. In his work for the Romanian stage, Gârbea has primarily reworked motifs from Anton Chekhov, Ion Luca Caragiale, Gustave Flaubert, Costache Negruzzi and various other of his predecessors, addressing contemporary realities. He is also the other of tragicomedies with themes borrowed the 1989 Revolution and his country's post-1989 history.

There have been several spinoff novels and short stories from the computer game Star Wars: Republic Commando, known as the Republic Commando Series. Although there is a degree of intertextuality between these stories, they can be split into several defined story arcs that can be read individually from each other. Although clone commandos appear in many stories, such as Dark Lord: The Rise of Darth Vader and Jedi Trial, this list only deals with direct spinoffs from the Republic Commando franchise. The Science Fiction book club released an edition of the first two Republic Commando books in an omnibus hardcover.

Siyavosh at Persepolis tells the story of the Crown Prince of Iran, Siyavosh, who after a falling-out with his father leaves Iran and settles in Turan. There he marries the daughter of King Afrasyab and is killed in a plot by the king’s scheming and jealous son. The film combines this ancient story with documentary-style scenes of foreign tourists visiting the ruins of Persepolis in the present, creating a work in which past, future, present, legend, theater and a myriad of filmic forms are combined in a dense intertextuality that was new to Iranian cinema.

However, the reading of this hypotext is not necessary to the understanding of the hypertext. The use of optional intertextuality may be something as simple as parallel characters or plotlines. According to Emily Keller, J.K. Rowling's Harry Potter series shares many similarities with J. R. R. Tolkien's Lord of the Rings trilogy. Keller says that they both apply the use of an aging wizard mentor (Professor Dumbledore and Gandalf) and a key friendship group is formed to assist the protagonist (an innocent young boy) on their arduous quest to defeat a powerful wizard and to destroy a powerful being.

Ned Lukacher has proposed using the term in literary criticism to refer to a kind of intertextuality in which the ability to interpret one text depends on the meaning of another text. It is "the interpretive impasse that arises when a reader has good reason to believe that the meaning of one text is historically dependent on the meaning of another text or on a previously unnoticed set of criteria, even though there is no conclusive evidential or archival means of establishing the case beyond a reasonable doubt."Ned Lukacher, Primal Scenes (Cornell University Press, 1986), p. 24 online.

Both interpretive approaches combined are necessary for a complete knowledge of an object.Lindvall, T., & Melton, M., "Toward a Postmodern Animated Discourse: Bakhtin, Intertextuality and the Cartoon Carnival" (1994), in M. Furniss, ed., Animation: Art and Industry (New Barnet: John Libbey Publishing, 2012), esp. p. 64. Hans-Georg Gadamer, in his 1960 magnum opus Truth and Method (Wahrheit und Methode), offers perhaps the most systematic survey of hermeneutics in the 20th century, its title referring to his dialogue between claims of "truth" on the one hand and processes of "method" on the other—in brief, the hermeneutics of faith versus the hermeneutics of suspicion.

Gates plays off this homonym and incorporates the linguistic concept of signifier and signified with the vernacular concept of signifyin(g). Gates defines two main types of literary Signifyin(g): oppositional (or motivated) and cooperative (or unmotivated). Unmotivated signifyin(g) takes the form of the repetition and alteration of another text, which "encode admiration and respect" and are evidence "not the absence of a profound intention but the absence of a negative critique". Gates more thoroughly focuses on oppositional or motivated Signifyin(g) and how it "functions as a metaphor for formal revision, or intertextuality, within the Afro-American literary tradition".

Moulthrop began experimenting with hypertext theory in the 1980s, and has since authored several articles as well as written many hypertext fiction works. He has had an article published in Wired magazine His hypertext Victory Garden was featured on the front page of the New York Times Book Review from a review by Robert Coover, and Hegirascope won the Eastgate Systems HYSTRUCT Award. He served as co-editor for Postmodern Culture and is currently listed as part of their editorial collective. He is partnered with Nancy Kaplan, Michael Joyce, and John McDaid in TINAC (Textuality, Intertextuality, Narrative, and Conscioussness).

Related to postmodern intertextuality, pastiche means to combine, or "paste" together, multiple elements. In Postmodernist literature this can be a homage to or a parody of past styles. It can be seen as a representation of the chaotic, pluralistic, or information-drenched aspects of postmodern society. It can be a combination of multiple genres to create a unique narrative or to comment on situations in postmodernity: for example, William S. Burroughs uses science fiction, detective fiction, westerns; Margaret Atwood uses science fiction and fairy tales; Giannina Braschi mixes poetry, commercials, musical, manifesto, and drama; Umberto Eco uses detective fiction, fairy tales, and science fiction, and so on.

Jeyamohan has described Venmurasu as a modern novel based on the Mahabharatha, and not just a retelling of the story in modern idiom. Venmurasu is guided by the storyline of the epic and the dynamics of the Indian Puranic tradition, but as a work of literature composed in the twenty-first century, it assumes its own form and aesthetics that place it in a modern context. Nested storylines, intertextuality and fantasy woven with deep archetypes and allegory provide a distinctly post-modern texture to the novel which Jeyamohan prefers to term as 'Puranic Realism'. Venmurasu approximately follows the Mahbharatha on a linear narrative, but the many episodes are distinctly non-linear.

Although the majority of literary works were written in accordance with socialist realism norms, one of the works that escaped these normes was Kënga Shqiptare (Albanian Song), in five volums, as well as other realist novels of Trebeshina. He wrote the novel "Mekami", in the narrative "Kukudhi", the short novel "Kisha e Shën Kristoforit: Legjenda e Kostandinit dhe e Doruntinës", the novel "Rruga e Golgotës", short novel "Odin Mondvalsen" and the short novel "Hani i Begomires". It is clearly expressed in the memuaristic essays in the volume "Dafinat e thara", in the historical novel "Këngë shqiptare" and the novel "Tregtari i skeleteve", perfect example of intertextuality.

But Barthes points out that the great proliferation of meaning in language and the unknowable state of the author's mind makes any such ultimate realization impossible. As such, the whole notion of the 'knowable text' acts as little more than another delusion of Western bourgeois culture. Indeed, the idea of giving a book or poem an ultimate end coincides with the notion of making it consumable, something that can be used up and replaced in a capitalist market. "The Death of the Author" is considered to be a post-structuralist work,Jay Clayton, Eric Rothstein, Influence and Intertextuality in Literary History, University of Wisconsin Press, 1991, p. 156.

Her sculptures were entitled Rupestrian Sculptures (1981)—the title refers to living among rocks—and the book of photographic etchings that Mendieta was created to preserve these sculptures is a testament to the intertextuality of Mendieta's work. Clearwater explains how the photographs of Mendieta's sculptures were often as important as the piece they were documenting because the nature of Mendieta's work was so impermanent. Mendieta spent as much time and thought on the creation of the photographs as she did on the sculptures themselves. Mendieta returned to Havana, the place of her birth, for this project, but she was still exploring her sense of displacement and loss, according to Clearwater.

Raised a Catholic, Aubert de VerséBnF autorités took a medical degree in Paris but converted to Protestantism in 1662, and studied at the Protestant Academy of Sedan to become a minister in the Dutch Republic. Ejected from the ministry in 1668/9 as a suspected Socinian,Martin Mulsow, The 'New Socinians': Intertextuality and Cultural Exchange in late Socinianism, in Martin Mulsow and Jan Rohls, Socinianism and Arminianism: Antitrinitarianism, Calvinists and Cultural Exchange in Seventeenth-Century Europe, pp. 57-60 he reverted to Catholicism in 1670 and practiced medicine. After the Edict of Fontainebleau, he turned away from Catholicism, but was accused of anti-Trinitarianism and attacked by supporters of Pierre Jurieu.

Born in Essen, Degens grew up in the Ruhr Valley, and finished high school in Dorsten. Lexikon Westfälischer Autorinnen und Autoren 1750 bis 1950 He studied German studies and sociology at the Ruhr-Universität Bochum, and graduated in 1999 with a work about Intertextuality and Distinction. In 1996, he founded a small but eclectic publishing house, SuKuLTuR, for which he has edited 147 volumes of the series “Schöner Lesen.” The series featured the work of German Writers such as Ann Cotten, Dietmar Dath, Wolfgang Herrndorf, and Clemens J. Setz, and German translations of works by Washington Cucurto, Denise Duhamel, Chris Kraus, Sarah Manguso, and Jeffrey McDaniel.

There are more than 100 manuscripts of an Arabic Christian work entitled the Ru'ya Butrus, which is Arabic for the 'Vision' or 'Apocalypse' of Peter.These may be found in Georg Grag, Die Arabische Christliche Schriftsteller, in the Vatican series Studi e Testi. Additionally, as catalogues of Ethiopic manuscripts continue to be compiled by William MacComber and others, the number of Ethiopic manuscripts of this same work continue to grow. It is critical to note that this work is of colossal size and post-conciliar provenance, and therefore in any of its recensions it has minimal intertextuality with the Apocalypse of Peter, which is known in Greek texts.

The Dialogic Imagination (first published as a whole in 1975) is a compilation of four essays concerning language and the essay: "Epic and Novel" (1941), "From the Prehistory of Novelistic Discourse" (1940), "Forms of Time and of the Chronotope in the Novel" (1937–1938), and "Discourse in the Novel" (1934–1935). It is through the essays contained within The Dialogic Imagination that Bakhtin introduces the concepts of heteroglossia, dialogism and chronotope, making a significant contribution to the realm of literary scholarship.Holquist xxvi Bakhtin explains the generation of meaning through the "primacy of context over text" (heteroglossia), the hybrid nature of language (polyglossia) and the relation between utterances (intertextuality).Maranhão 1990, p.

Accidental intertextuality is when readers often connect a text with another text, cultural practice or a personal experience, without there being any tangible anchorpoint within the original text. The writer has no intention of making an intertextual reference and it is completely upon the reader's own prior knowledge that these connections are made. Often when reading a book or viewing a film a memory will be triggered in the viewers' mind. For example, when reading Herman Melville's 'Moby Dick', a reader may use his or her prior experiences to make a connection between the size of the whale and the size of the ship.

Patrick, who has had to deal with the break-up of his relationship with Sonja, begins to put his life back together–in his own way–and moves in with his previous girlfriend, and the reader is witness to the bitter-sweet way this slice of Patrick's life has turned out. The piece comments not only on contemporary life in Western Sydney, but life in the greater Western world. It deals with dark issues, but is also peppered with humour and intertextuality. The target readership for this piece is young, relatively well-read adults, and those with an interest in contemporary Australian literature; and, of course, anyone who enjoys reading.

Lucy Newlyn's longstanding research interests are eighteenth- and early nineteenth-century literature, especially poetry and non-fictional prose in the Romantic period; influences on Romanticism; the reception of Romanticism; creativity and multiple authorship; allusion and intertextuality; reader-response and reception theory. She is an authority on Wordsworth and Coleridge, and has published extensively in the field of English Romantic literature, including four books with Oxford University Press and the Cambridge Companion to Coleridge. Her book Reading, Writing, and Romanticism: The Anxiety of Reception won the British Academy’s Rose Mary Crawshay prize in 2001: 'a signal contribution to British Romantic studies and literary theory'. Since 2003, Newlyn has been researching the prose of Edward Thomas.

Ilium/Olympos is a series of two science fiction novels by Dan Simmons. The events are set in motion by beings who appear to be ancient Greek gods. Like Simmons' earlier series, the Hyperion Cantos, it is a form of "literary science fiction"; it relies heavily on intertextuality, in this case with Homer and Shakespeare as well as references to Marcel Proust's À la recherche du temps perdu (or In Search of Lost Time) and Vladimir Nabokov's novel Ada or Ardor: A Family Chronicle. As with most of his science fiction and in particular with Hyperion, Ilium demonstrates that Simmons writes in the soft science fiction tradition of Ray Bradbury and Ursula K. Le Guin.

Like many of her other novels, especially the other novels within the Love Medicine series, Erdrich uses a blend of “intertextuality, multiple perspectives, and temporal dislocation” to create the narrative of Four Souls. Many consider this book to be written in a post-modernist style and suggest Erdrich's works may have been influenced by modernist William Faulkner’s Yoknapatawpha County stories due to the highly interconnected relationships and characters within her novels. Within Four Souls, Erdrich uses her Ojibwe ancestry to give a strong sense of realism to the characters and their lives. An obvious instance of such would be the inclusion of Nanapush, who is based on the Ojibwe narrative tradition of an Anishinaabe trickster.

Despite having no experience in the video gaming industry, the team went to work and after nine months of development, released In the Interest of Ratings (בתככי הרייטינג), a title which focused on the incompetent detective Elimelech Egoz (voiced by Moshe Ferster), who goes on holiday at the fictional Nofei Hadera Hotel only to be greeted by a bizarre murder case. The game contained intertextuality, inside jokes, irony, and cynicism. In the Interest of Ratings received negative reviews in the press, including in Internet Captain (קפטן האינטרנט), the technology/multimedia branch of the leading Israeli newspaper Haaretz; however it received positive reviews in youth-oriented newspapers. Ultimately the game was relatively popular, though it was not financially successful.

" A similar overview is provided by Burţa-Cernat, who contends that, in taking sides and explaining his intentions, the author adopts "the manner of an untalented journalist", with "see-through" results. She also believes that Gârbea's chief comedic resource is "the cheap anecdote with a trite climax", which she compares with those published by the communist-era magazine Urzica. Additionally, Burţa- Cernat comments on the irony of Cosma's reliance on intertextuality, which she finds similar to Gârbea's own work for the stage. Critic Andrei Terian noted that he disliked almost all the book, because of its author's tendency to humiliate his characters "before us readers are in the least familiarized with them.

In his book Watching with The Simpsons: Television, Parody, and Intertextuality, Jonathan Gray discusses a scene from "Homer Defined" that shows Homer reading a USA Today with the cover story: "America's Favorite Pencil – #2 is #1". Lisa sees this title and criticizes the newspaper as a "flimsy hodge-podge of high-brass factoids and Larry King", to which Homer responds that it is "the only paper in America that's not afraid to tell the truth: that everything is just fine". In the book, Gray says this scene is used by the show's producers to criticize "how often the news is wholly toothless, sacrificing journalism for sales, and leaving us not with important public information, but with America's Favorite Pencil".

The Mahāmāyā Tantra probably first appeared within Buddhist tantric communities in the late ninth or early tenth centuries CE. Based on instances of intertextuality Verses 3.12–14 of the Mahāmāyātantra contain a number of close correspondences with verses 12.52, 53, and 55 of the Guhyasamājatantra. it is considered to postdate the Guhyasamāja Tantra; and because it is less doctrinally and structurally developed than tantras such as the Hevajra Tantra, its origins are likely to precede that text, and it is usually considered to be amongst the earliest of the Yoginī tantras. By the eleventh century CE the Mahāmāyā Tantra was circulating within monastic institutions as well as communities surrounding tantric adepts or mahāsiddha.

The book would also be appropriate for study by tertiary literature students as an example of topical, contemporary Australian literature and intertextuality, and also to latter secondary school students as an example of literature that deals with contemporary Western issues. McDonald has two subsequent works yet to be published: one is a semi auto-biographic novel about life as a struggling rock musician in Sydney's underground; the other is a literature novel concerning a young Middle Eastern woman trying to make a career in the entertainment industry despite the conflicts it causes in her family. McDonald also has poetry and short stories published in the University of Sydney's Hermes journal, and several independent literary journals published by UWS Press.

Sometimes "prequel" describes followups where it is not always possible to apply a label defined solely in terms of intertextuality. In the case of The Godfather Part II, the narrative combines elements of a prequel with those of a more generalized sequel by having two intercut narrative strands, one continuing from the first film (the mafia family story under the leadership of Michael Corleone), and one, completely separate, detailing events that precede it (the story of his father Vito Corleone in his youth). In this sense the film can be regarded as both a "prequel and a sequel" (i.e., both a prior and a continuing story), and is often referred to in this manner.

Writing around 100 AD, Plutarch wrote of graffiti: "There is nothing written in them which is either useful or pleasing – only so-and-so 'remembers' so-and-so, and 'wishes him the best', and is 'the best of his friends', and many things full of such ridiculousness". 21st- century scholars have found more to study and enjoy in the visual art and intertextuality of Roman graffiti. More than simply text and thought, Roman graffiti give insight into the use of space and how people interacted within it. Studying the motivation behind the marks reveals a trend for the graffiti to be located where people spend time and pass most frequently as they move through a space.

Ilium is a science fiction novel by American writer Dan Simmons, the first part of the Ilium/Olympos cycle, concerning the re-creation of the events in the Iliad on an alternate Earth and Mars. These events are set in motion by beings who have taken on the roles of the Greek gods. Like Simmons' earlier series, the Hyperion Cantos, the novel is a form of "literary science fiction" which relies heavily on intertextuality, in this case with Homer and Shakespeare, as well as periodic references to Marcel Proust's À la recherche du temps perdu (or In Search of Lost Time) and Vladimir Nabokov's novel Ada or Ardor: A Family Chronicle. In July 2004, Ilium received a Locus Award for Best Science Fiction Novel of 2004.

He is also known to have reworked and blended into his own texts various themes borrowed from Ernest Hemingway. The English-speaking world became the Romanian author's primary cultural reference, and, according to researcher Caius Dobrescu, Nedelciu was one of those "fascinated" with the ideas of Canadian essayist Northrop Frye on "the constant degeneration of the character" in Western literature.Caius Dobrescu, A Bertrand Russell with a Wagnerian Twist, at Observator Cultural, The Observer Translation Project; retrieved June 27, 2009 His inspiration sources also covered French authors associated with the May 1968 movement. Mihai Oprea, "Realitate, ficţiune şi fabulatoriu", in Observator Cultural, Nr. 285, August 2005 Primarily related to his interest in the textuality and intertextuality techniques of Tel Quel theorists,Mihăilescu, p.

193 A list has been compiled of characteristics one might typically attribute to postmodernism, but that also could describe literary magic realism: "self-reflexiveness, metafiction, eclecticism, redundancy, multiplicity, discontinuity, intertextuality, parody, the dissolution of character and narrative instance, the erasure of boundaries, and the destabilization of the reader."D'haen, Theo L., "Magical realism and postmodernism" from MR: Theory, History, Community, pp. 192-3 [D'haen references many texts that attest to these qualities] To further connect the two, magical realism and postmodernism share the themes of post-colonial discourse, in which jumps in time and focus cannot really be explained with scientific but rather with magical reasoning; textualization (of the reader); and metafiction. Concerning attitude toward audience, the two have, some argue, a lot in common.

Barbara Pym often resorted to various kinds of intertextuality in order to give her novels added depth and relevance. In the case of A Glass of Blessings, the title is taken from a line in George Herbert’s poem "The Pulley", which is quoted and commented on in this novel’s final chapter. In the poem, when God first made man and, "having a glass of blessings standing by", all its contents were poured on him except rest, since otherwise he would not appreciate the others with which he was endowed. It is this theme, that a life that does not run smoothly is itself a glass of blessings, that Wilmet has satisfaction in applying to all that has happened to her.

Khal Torabully left for Lyon in 1976, to study at the University of Lyon II. Here he explored language with a need to reinterpret if profoundly, mixing exile with a desire to reconcile peoples across borders, through a "coral imaginary". After studies in Comparative Literature, Torabully wrote a PhD thesis in Semiology of Poetics with Michel Cusin. He was highly interested in T. S. Eliot, Jacques Lacan, Umberto Eco, Roland Barthes and Julia Kristeva, among others he met in his doctoral researches on intertextuality. His poetry was to bear the imprint of those various theories, though it remained sensual, espousing the inner rhythms of the sea and the vision of meeting others akin to the "aesthetic shock" experimented by Victor Segalen.

Faculty of NTU Division of Chinese: I, Lo-fen By integrating the history of Chinese literature and arts, she has accomplished a series of researches on poems in paintings and poetic imagery. She then proposed the idea of the “Text and Image Studies”(文图学) and focused on the relations, comparison and intertextuality between poems and paintings. From there, she has established her literary theory in arts creation and culture of aesthetics.Conference Handbook of "Learning and Reflection: International Conference on Sinology" (学与思：国际汉学研讨会会议手册) (Singapore: NTU The Centre for Liberal Arts and Social Sciences, NTU Spotlight Taiwan Project, Institute of Chinese Literature and Philosophy at Academia Sinica, 2014).

This means other techniques born from long-distance communication must also be employed. Thus, techniques and practices that would normally never be used in conjunction with one another in the creation of an artistic work end up being used intertextually in the creation of machinima. Another way that machinima demonstrates intertextuality is in its tendency to make frequent references to texts, works, and other media just like TV ads or humorous cartoons such as The Simpsons might do. For example, the machinima series Freeman's Mind, created by Ross Scott, is filmed by taking a recording of Scott playing through the game Half Life as a player normally would and combining it with a voiceover (also recorded by Scott) to emulate an inner monologue of the normally voiceless protagonist Gordon Freeman.

Aesopica site The fable of the heron was given popularity in France at a slightly earlier date than in England by being included in the second edition of La Fontaine's Fables, (VII.4).See the Elizur Wright translation online There it is given a certain intertextuality when the heron's 'disdainful choice' is compared to that of the town mouse visiting his country cousin in the tale of The Town Mouse and the Country Mouse. La Fontaine is referring to Horace's version of that fable, but then proposes to give a human example of the situation he describes and proceeds straight away to tell the fable of a fastidious beauty (VII.5) who turns down all suitors when she is young and has to take what she can get after her looks fade.

In 1992 he was instrumental in founding the Free University of Nouallaguet, and he has lectured there since 1995. Translator from French into Czech (François Rabelais, Alfred Jarry, Raymond Queneau, Samuel Beckett, Henri Michaux, Boris Vian, Claude Simon...) and from Czech into French (Bohumil Hrabal, Vladimír Holan, Jan Skácel, Miroslav Holub, Jiří Gruša, Ivan Wernisch...), Ouředník is also the author of various literary texts. His production is characterized by an interest in curious and surprising aspects of life, by an experimentation in exploring language, literary forms and genres, and by a constant attention to ludic aspects. Words, events, social stereotypes, readings, the story itself are continuously mixed up in a lucid, hilarious game of intertextuality as witnessed, for example, in three of his novels translated into English: Europeana.

One of the ways to read the imperialist themes of the play is through a historical, political context with an eye for intertextuality. Many scholars suggest that Shakespeare possessed an extensive knowledge of the story of Antony and Cleopatra through the historian Plutarch, and used Plutarch's account as a blueprint for his own play. A closer look at this intertextual link reveals that Shakespeare used, for instance, Plutarch's assertion that Antony claimed a genealogy that led back to Hercules, and constructed a parallel to Cleopatra by often associating her with Dionysus in his play. The implication of this historical mutability is that Shakespeare is transposing non-Romans upon his Roman characters, and thus his play assumes a political agenda rather than merely committing itself to a historical recreation.

Finnegans Wake incorporates a high number of intertextual allusions and references to other texts; Parrinder refers to it as "a remarkable example of intertextuality" containing a "wealth of literary reference."Parrinder 1984, p. 208. Among the most prominent are the Irish ballad "Finnegan's Wake" from which the book takes its name, Italian philosopher Giovanni Battista Vico's La Scienza Nuova,Verene 2003 presents a book-long study of allusions to Vico's New Science in Finnegans Wake the Egyptian Book of the Dead, the plays of Shakespeare,Cheng 1984 presents a book-long study of allusions to Shakespeare's writings in Finnegans Wake and religious texts such as the Bible and Qur'an.Anderson, J. P., Joyce's Finnegans Wake: The Curse of Kabbalah, Vol. 2 (Irvine, CA: Universal Publishers, 2009), pp. 166–167.

As the streets are transformed into passages, as described by Walter Benjamin with the inspiration of Baudelaire, the prisons and the cells are transformed into streets of Istanbul by Burhan Sönmez.” Emrah Tuncer, DemokratHaber News (Turkey) “Istanbul Istanbul is creating a space of its own both in urban culture and in philosophical depth with its multilayered structure and multiple meaning like classical works. It will have its unique place in the history of literature as a work of intertextuality, and a novel of new-ages. I can heartily say that he is the ‘expected author’ who will be rising the flag.” Hayri K. Yetik, Mesele Literary Magazine (Turkey) “Burhan Sönmez brings the Eastern narrative and the Western form together by adding parables, riddles, and, of course, mysterious stories of Istanbul into his novel.

Ready to abandon his quest, he discovers a copy of the original First Folio of 1623 among his grandfather's books, the shock of which causes another incident, during which he relives his lost memories of childhood. The final section of the book is, therefore, a literary exploration of the traditional phenomenon whereby a person's life flashes before him or her, as Yambo struggles to regain the one memory he seeks above all others: the face of the girl he loved ever since he was a student. Umberto Eco includes myriad references to both scholarly and popular culture in the book (notably the Flash Gordon strips) and has drawn heavily on his own experiences growing up in Benito Mussolini's Fascist Italy. Like other Eco novels, The Mysterious Flame of Queen Loana boasts abundant intertextuality.

While contributing to Integral, Ion Călugăru also began his relationship with experimental literature. The early products of this new preoccupation were prose fragments like Domnișoara Lot ("Miss Lot"), which used intertextuality, reworking themes borrowed from classical works of literature, in a manner also employed at the time by his colleague Jacques G. Costin. Dan Gulea, "Jacques Costin, avangardistul", in Observator Cultural, Nr. 181, August 2003 Like Vinea, Felix Aderca and Adrian Maniu, Călugăru was thought by some to be indebted to the early avant-garde figure Urmuz. This view was criticized by Călugăru's contemporary, modernist literary chronicler Perpessicius, who noted that all these authors had matured before Urmuz was even discovered by the literary establishment, and as such that they could not be considered Urmuz's pupils (an assessment described by Cernat as "singular, although somewhat amendable").

Conte confines his work basically to Latin literature, mainly to the poetry of the late republic, the Augustan period, and the early empire (Virgil, Lucan, Catullus, the elegiacs, Ovid, Lucretius), but also works on prose writers such as Pliny the Elder and on the novel of Petronius. Conte's approach to Latin literature is characterized by a combination of traditional philology and the innovations of literary theory of the 1970s, in particular structuralism. In his most successful pieces of work, for the most part articles which he later put together to form thematic volumes, Conte breaks with Croce’s historicism and develops the concept of a literary system and of genre based on codes. Conte's approach has been picked up in the last thirty years in particular in the Anglo-Saxon world and successfully elaborated in combination with the theory of intertextuality.

The site is located 10 kilometres east of the Dead Sea Transform, one kilometre southwest of Natur. Identification attempts based on Jewish sources have led to two possible ancient names: Kantur, mentioned by Rabbi Menachem di Luzano in his book Ma'arikh (16th/early 17th century);Eli Yassif, Intertextuality in folklore: pagan themes in Jewish folktales from the Early Modern Era, for the correct spelling and century and Qamtra, the name of a place mentioned in the Talmud and with a Jewish past dating back to the Byzantine period.Stephen Rubin, Discovering Jewish History on the Golan Heights, on the website of The Tower and The Tower MagazineUrman, Dan and Flesher, Paul Virgil McCracken Ancient Synagogues: Historical Analysis and Archaeological Discovery, p. 549, Brill, 1998, 2nd edition, series: Studia Post Biblica, No 47 (Themes in Biblical Narrative) (v.

Autumn in Peking () is a 1947 novel by the French writer Boris Vian. It was published by Jean d’Halluin's Éditions du Scorpion in 1947 with a second edition (revised by the author) at Éditions de Minuit in 1956 which had a drawing by Mose on the cover. It was reissued in 1963 and reprinted a number of times. The French critic Bruno Maillé has described it as a surrealist novel, something the surrealists themselves refuted, however Alistair Rolls in his study of intertextuality in four novels of Boris Vian argues the novel contains many surrealist elements and techniques. The Peking (or Beijing) of the title is not literal; if anywhere the location of the novel's main action is a “dream-desert” allowing Vian to play with visual extremes of searing light and heat as well as intense blackness and night.

Greetham received his undergraduate degree from the University of Oxford in 1963 and completed his Ph.D. in English at the City University of New York. Marta Werner of D'Youville College describes Greetham as "drawn to texts that spill over the boundaries of genre, that exist in multiple versions, that explore intertextuality, and that complicate in various other ways the notion of text as fixed or stable." In his works, Greetham has sought to co-opt "the terminology and practice of literary theory in re-designating textual operations in the guise of ... literature, anthropology, sociology, gender studies, history, political science, linguistics, psychology, [and] philosophy." As a theorist of scholarly editing, Greetham has taken up a middle ground between intentionalist positions like that of G. Thomas Tanselle and the social textual criticism of Jerome McGann, maintaining the goal of establishing an authoritative text while allowing the possibility that multiple authorized versions can exist.

Mircea Nedelciu (; November 12, 1950 – July 12, 1999) was a Romanian short- story writer, novelist, essayist and literary critic, one of the leading exponents of the Optzecişti generation in Romanian letters. The author of experimental prose, mixing elements of conventional narratives with autofiction, textuality, intertextuality and, in some cases, fantasy, he placed his work at the meeting point between Postmodernism and a minimalist form of Neorealism. This approach is illustrated by his volumes of stories and his novels Zmeura de cîmpie ("Raspberry of the Field"), Tratament fabulatoriu ("Confambulatory Treatment"), and by Femeia în roşu ("The Woman in Red"), a collaborative fiction piece written together with Adriana Babeţi and Mircea Mihăieş. A follower of trends in avant-garde literature of the 1960s and '70s, Nedelciu co-founded the literary circle Noii ("The New Ones") with Gheorghe Crăciun, Gheorghe Ene, Ioan Flora, Gheorghe Iova, Ioan Lăcustă, Emil Paraschivoiu, Sorin Preda and Constantin Stan.

Concentrating broadly on how Palestinian poetry has been chronicling the nakba (the catastrophe of 1948) and its unending agonies, Snir has studied a specific chronicle of the Palestinian people in the mid-1980s against the backdrop of the Israeli invasion of Lebanon in 1982 and prior to the outbreak of the first intifada in the West Bank and Gaza Strip. In fact, it is a chronicle undertaken by a single poet, Mahmud Darwish (1941–2008) mainly in one collection, Ward Aqall [Fewer Roses] (1986), and more specifically in one poem, “Other Barbarians Will Come”. “Other Barbarians Will Come”: Intertextuality, Meta-Poetry, and Meta-Myth in Mahmud Darwish’s Poetry,” in: Hala Khamis Nassar and Najat Rahman (eds.), Mahmoud Darwish, Exile’s Poet : Critical Essays (Northampton, MA : Interlink Books, 2008), pp. 123-166. Review: LYNNE ROGERS,A Critical Tribute to the Poet of Exile, Al Jadid, Vol.

Instead they decided to parody the fact that almost every comic book has been turned into a film. Jean commented that that scene in the episode in which the studio executives "are trying to think up an idea that hasn't been done really is what they are doing these days [in real life]". In the season eleven episode "E-I-E-I-(Annoyed Grunt)", The Simpsons go to a screening of The Poke of Zorro, which is largely a parody of the Zorro film The Mask of Zorro (1998). Jonathan Gray wrote in Watching with The Simpsons: Television, Parody, and Intertextuality that The Poke of Zorro "ridicules the outlandishness of Hollywood blockbuster fare," especially its "blatant historical inaccuracies" which sees the film feature Zorro, King Arthur, the Three Musketeers, the Scarlet Pimpernel, "the Man in the Iron Mask and ninjas in nineteenth century Mexico".

Ivanić's research focused on literacy, intertextuality, applications of Theo van Leeuwen's Theory of Representation, academic discourse practices, writing practices in both academic and non-academic settings, the link between research and practice, multimodal communication, adult literacy, educational linguistics, critical language awareness, punctuation, and second language writing. In 1994 Ivanić, along with Lancaster Literacy Research Group including David Barton, claimed that literacy is not a skill but a set of practices which is culturally shaped and embedded in social action. In a research article, published in the Journal of Second Language Writing in 2001, Ivanić claimed that writing (lexical, the syntactic, the organisational and the material aspects of writing construct identity) conveys a representation of the writer. In a research article, entitled Discourses of writing and learning to write and published in Language and Education, Ivanić proposed a meta-analysis of theory and research about writing and writing pedagogy.

The B-52's sing the song "Glove Slap" in the episode The Simpsons go to a screening of The Poke of Zorro, a loose parody of the Zorro film The Mask of Zorro (1998). The movie also parodies various films. Jonathan Gray wrote in Watching with The Simpsons: Television, Parody, and Intertextuality that "The Poke of Zorro ridicules the outlandishness of Hollywood blockbuster fare, especially its blatant historical inaccuracies which sees the film feature Zorro, King Arthur, the Three Musketeers, the Scarlet Pimpernel, the Man in the Iron Mask and ninjas in nineteenth century Mexico." During the credit list of The Poke of Zorro, actors John Byner, Shawn Wayans, Rita Rudner, Cheech Marin, Gina Gershon, Curtis Armstrong, Eric Roberts, Spalding Gray, Anthony Hopkins, James Earl Jones, Meryl Streep, singer Victoria Beckham, wrestler Steve Austin, soccer player Pelé, and producer Robert Evans as having roles in the film.

This definition allows him to extend the category to include, in addition to the five canon novels, Pseudo-Lucian's The Ass, Lucian's A True Story, Pseudo-Callisthenes' Alexander Romance, and the anonymously written The Story of Apollonius, King of Tyre. B. P. Reardon Collected Ancient Greek Novels (Berkeley: University of California Press, 2008) Although the plots of the surviving novels appear to be relatively conventional, entailing the fulfilled heterosexual desire of a beautiful and usually virtuous young couple, this impression of uniformity and moralism may be an illusion created by later Christians, who decided which to copy for posterity. Writers now lost such as Lollianus (the author of Phoenician Tales) and Iamblichus seem to have been much more experimental and lurid. Even so, the surviving texts (arguably with the exception of Xenophon's Ephesian Tale) show great sophistication in their handling of character, narrative and intertextuality.

As is common with much of Newman's work, the stories feature a great deal of intertextuality, both with actual historical events (many of the stories feature events which mirror actual events that took place within the real twentieth century, in particular the 1917 Russian Revolution and the Vietnam War) and with popular culture. The stories are significant in that they feature famous fictional characters (particularly from American and British texts) interacting with real personages; President Charles Foster Kane, for example, is the main character from Orson Welles' 1941 motion picture Citizen Kane, whereas Tom Joad — hunted by real-life law enforcers Elliot Ness and Melvin Purvis in 'Tom Joad' — is the protagonist of John Steinbeck's The Grapes of Wrath. Hannibal Lecter appears as the head of the Department of Health, and John Rambo helps train Vietnamese Communists. Rambo is played in a film by Raymond Massey.

One is not sure > after reading it whether one has read or imagined it. The contradictory > sense of time contributes to this blurred impression. The entire novel takes > place within 24 hours, but the movement in the characters' minds back and > forth in time and the spiritual distance they travel makes the actual time > span seem immeasurable. In her 1988 study, Frederick Buechner: novelist of the lost and found, Marjorie Casebier McCoy claims that the novel ‘display[s] the virtuoso talent’ of Buechner’s earlier work. McCoy is especially appreciative of the intertextuality of The Entrance to Porlock, noting that its ‘artful retelling of The Wizard of Oz’ is ‘related with compelling warmth and engaging fantasy’. Though quick to assert that the novel is ‘not a copy of The Wizard of Oz’, but rather ‘a powerful story in its own right’,Casebier-McCoy, Marjorie (1988).

In 2013, Asprem and Granholm highlighted that "contemporary esotericism is intimately, and increasingly, connected with popular culture and new media." Granholm noted that esoteric ideas and images could be found in many aspects of Western popular media, citing such examples as Buffy the Vampire Slayer, Avatar, Hellblazer, and His Dark Materials. Granholm has argued that there are problems with the field in that it draws a distinction between esotericism and non-esoteric elements of culture which draw upon esotericism; citing the example of extreme metal, he noted that it was extremely difficult to differentiate between artists who were "properly occult" and those who referenced occult themes and aesthetics in "a superficial way". Writers interested in occult themes have adopted three different strategies for dealing with the subject: those who are knowledgeable on the subject including attractive images of the occult and occultists in their work, those who disguise occultism within "a web of intertextuality", and those who oppose it and seek to deconstruct it.

Flagg's background as a rape victim and its impact on his character have also been explored. Patrick McAleer, author of Inside the Dark Tower Series: Art, Evil and Intertextuality in the Stephen King Novels, argues that Flagg's situation is the most sympathetic of all of King's characters, and his evil may be retribution: "[I]n suspending any disbelief in the possibility that reprisal is a reaction to rape, the life of Flagg becomes one that looks to strike a balance for the sexual crime committed against him. And although Flagg's possible search for justice and balance is that which becomes imbalanced and even prejudiced, the mitigating factor here is that Flagg is not an originator of evil - he is just caught up in its web as another wronged individual seeking justice". McAleer compares Flagg to Satan in Paradise Lost, suggesting that he may be another "fallen angel who has a valid case supporting his devilry".

"Almodóvar has consolidated his own, very recognizable universe, forged by repeating themes and stylistic features", wrote Gerard A. Cassadó in Fotogramas, Spanish film magazine, in which the writer identified nine key features which recur in Almodóvar's films: homosexuality; sexual perversion; female heroines; sacrilegious Catholicism; lipsyncing; familial cameos; excessive kitsch and camp; narrative interludes; and intertextuality. June Thomas from Slate magazine also recognised that illegal drug use, letter-writing, spying, stalking, prostitution, rape, incest, transsexuality, vomiting, movie-making, recent inmates, car accidents and women urinating on screen are frequent motifs recurring in his work. Almodóvar has also been distinguished for his use of bold colours and inventive camera angles, as well as using "cinematic references, genre touchstones, and images that serve the same function as songs in a musical, to express what cannot be said". Elaborate décor and the relevance of fashion in his films are additionally important aspects informing the design of Almodóvar's mise-en-scène.

Fragmentation and nonlinear narrative become increasingly present in her work through the use of multiple narrators whose narrative arcs may not directly meet but whose meanings are derived from resonance and pattern similarity (see The History of Love, Great House, Forest Dark). The History of Love and Forest Dark employ techniques of metafiction and intertextuality, questioning the veracity of the novel's form and antagonizing the traditional contract between reader and text. The co- protagonist of Forest Dark in particular is a novelist who shares the author's name and several biographical details, including reflections on a failed marriage to a man with whom the character has two children, considerations of the constraints of fiction, a fascination with Franz Kafka's life and writing, and a preoccupation with "Jewish mysticism, Israel and creation." In an August 2017 interview with The Guardian, Krauss is quoted saying: This evident blurring of the distinction between reality and fiction seems to reflect a rejection of objectivism in favor of sublime relativism, and unites Krauss with the wider gestalt common to her postmodern peers.

" ImageTexT 4.1. However, Smith's viewpoint is in the minority: to many, if there is a problem with Gaiman scholarship and intertextuality it is that "... his literary merit and vast popularity have propelled him into the nascent comics canon so quickly that there is not yet a basis of critical scholarship about his work." David Rudd takes a more generous view in his study of the novel Coraline, where he argues that the work plays and riffs productively on Sigmund Freud's notion of the Uncanny, or the Unheimlich. Though Gaiman's work is frequently seen as exemplifying the monomyth structure laid out in Joseph Campbell's The Hero with a Thousand Faces,See Stephen Rauch, Neil Gaiman's The Sandman and Joseph Campbell: In Search of the Modern Myth, Wildside Press, 2003 Gaiman says that he started reading The Hero with a Thousand Faces but refused to finish it: "I think I got about half way through The Hero with a Thousand Faces and found myself thinking if this is true – I don't want to know.

Stam and Shohat continued with an anthology -- Multiculturalism, Postcoloniality, and Transnational Media (Rutgers, 2003); followed by a more frankly political polemic which excoriated the militaristic pseudo-patriotism of the Bush/Cheney period -- Flagging Patriotism: Crises in Narcissism and Anti-Americanism (Routledge, 2006). Race in Translation: Culture Wars Around the Postcolonial Atlantic (NYU, 2012), finally, constituted an ambitious exercise in intellectual history which charted the multidirectional traffic of ideas around the “Red, Black, and White Atlantic.” More precisely, the book dealt with the postwar debates about colonialism, postcoloniality, race, multiculture and Affirmative Action in three cultural zones—the U.S., and Anglophone zone, France and the Francophone zone, and Brazil and the Lusophone zone. Contesting the monolingual and Anglo-Americano- centric approach to these issues, the book elaborates such concepts as “the seismic shift” provoked by the decolonization of culture, the radicalization of the academic disciplines, the philosophical centrality of indigenous thought, the “left/right” convergence on identity politics, and “inter- colonial narcissism.” Stam has also been a major figure within the “transtextual turn” in adaptation and intertextuality studies.

Some of the disagreement applies to the history of the development of the various functions and forms. Most grammarians differentiate the aorist indicative from the non-indicative aorists. Many authors hold that the aorist tends to be about the past because it is perfective, and perfectives tend to describe completed actions;Egbert Bakker, 1997, Grammar as Interpretation: Greek literature in its linguistic contexts, p 21; Constantine Campbell, 2007, Verbal Aspect, the Indicative Mood, and Narrative: Soundings in the Greek of the New Testament, chapter 4; Donald Mastronarde, 1993, Introduction to Attic Greek; Buist M. Fanning, 1990, Verbal Aspect in New Testament Greek, p 67; Heerak Kim, 2008, Intricately Connected: Biblical Studies, Intertextuality, and Literary Genre; Maria Napoli, 2006, Aspect and Actionality in Homeric Greek; Brook Pearson, 2001, Corresponding Sense: Paul, Dialectic, and Gadamer, p 75; Stanley Porter, 1992, Idioms of the Greek New Testament; A.T. Robertson, 1934, A Grammar of the Greek New Testament in the Light of Historical Research; Max Zerwick, 1963, Biblical Greek. others that the aorist indicative and to some extent the participle is essentially a mixture of past tense and perfective aspect.

Music criticism in France has pointed out that Juan Manuel Abras is one of the European composers who "represent a good portion of the Europe of the new music" and, at the same time, music criticism in Buenos Aires has considered him "a genuine representative of Argentine music". In Germany, Genuin classics has highlighted "the breathless intensity of Juan Manuel Abras" and within the French musicological field it has been stated that "variety is also found in his musical language", a language that contains "a unity, by nature inaudible, which is realised each time through the different styles",Ibid. maintaining that in his works "there are, apart from the psychoanalysis [...] references to literature, religion, archaeology, etc.".Ibid. The Spanish academic field has gathered that Abras' music is "cosmopolitan and multifaceted, in search of a balance between emotion and reason, a dialogue between past and future, tending towards the Absolute" and that "it contains influences from the composers with whom he studied, such as Penderecki, Stockhausen, Lachenmann and Rihm, equally nourishing from concepts such as anamnesis, union of the opposites, numinosity, ekphrasis and intertextuality".Ibid.