Forms Of Intertextuality Research Articles

Intertextual Borrowings in Ngugi wa Thiong’o’s Petals of Blood

In every writing, literary and non-literary, no text exists as a complete isolate and complete authorial innovation. It manifests and results from multiple borrowings, conscious and otherwise, from other texts. Following Kristeva (1986), Genette (1997) and William (2010), this study analysed Ngugi wa Thiong’o’s novel, Petals of Blood, to uncover differing extents of textual borrowing in the form of reference, quotation, parody, borrowing, allusion and translation. The study used document review and textual analysis to generate the data that were then subjected to content analysis register occurrences of different forms of intertextuality. Data analysis and interpretation entailed placing these occurrences into themes, establishing frequencies, and computing percentages. The resultant data were summarised and presented in tables and figures, coupled with evidential excerpts gleaned from the text. Borrowing emerged to be the most predominant intertextual element accounting as it does for more than one-third of all intertextualities in Ngugi’s novel. In second came parody and allusion in that order. The other three forms of intertextuality—quotation, reference and translation—are comparably less pronounced in the novel. Conclusively, Ngugi's intertextuality subscribes to the spirit of Africanizing the English as a literary medium in the mould of what terms decolonising the mind of an African writer.

Littérature labyrinthique entre texte et sexe dans Journal sexuel d’un garçon d’aujourd’hui d’Arthur Dreyfus

Labyrinthine Literature between Text and Sex in Journal sexuel d'un garçon d'aujourd’hui by Arthur Dreyfus In Journal sexuel d’un garçon d’aujourd'hui, Arthur Dreyfus records his sexual experiences over several years. But he doesn’t limit himself to recounting his sexual intimacy; he also writes down some of his thoughts on other areas, such as relationships, writing and psychoanalysis. He generally proceeds in short narratives that can take different forms (anecdotes, poems, letters...) and are brought together to form a work of over 2000 pages. The reader is thus led into the author’s systems of thought. The aim of this article is to highlight the labyrinthine construction of this work: first, we’ll see how the Journal is the result of a search for identity. Next, we’ll look at how this work proposes a new form of intertextuality. Finally, we look at the form of the Journal and its impact on the reader. In this way, we offer the first keys to reading a complex but powerful work.

Trivialno v luči refleksije o postmodernizmu z nekaterimi primeri slovenske fantastične ter zgodovinske kratke proze

The article offers a brief overview of some prominent theoretical considerations on the transcendence of the traditional dichotomy between serious and trivial literature in light of reflection on postmodernism. In postmodernist literature this is manifested as a new form of intertextuality, which the author corroborates with some examples of fantasy and historical short stories. The intertextual hybrid nature of short prose genres takes shape as a correction of some typical narrative elements. This is why the theoretical starting points presented in the article are supported with the analysis of elements related to time and space in fantasy and historical short stories.

Forms of intertextuality in a postmodern play (a case study of “Old Money” by Wendy Wasserstein)

The study is devoted to the analysis of forms of intertextuality in postmodern drama on the example of Wendy Wasserstein's play “Old Money”. Postmodernism, as a cultural paradigm, is characterized by complex relations with its own history and traditions. The article explores how the use of various texts, allusions, and cultural references in “Old Money” contributes to the creation of a multilayered and complex text characteristic of postmodern drama. By analyzing the intertextual relations in this play, the purpose of the article is to reveal the peculiarities of Wasserstein's postmodern creative approach and their influence on the perception and interpretation of the playwright's text. The results of the study may be useful for further understanding of intertextual strategies in postmodern literature and studying postmodern aspects in the work of Wendy Wasserstein. The study of intertextuality in “Old Money” allowed us to better understand and evaluate the artistic world of the play, to reveal the relationship between texts and contexts that interact in creating meaning. We have identified the features and significance of each of the intertextual allusions, as well as their impact on the perception and interpretation of the play. In addition, the analysis of intertextual connections shed light on the specificity and value of the author's own creative method, revealing his cultural and intellectual preferences.

Exploring the intersection of Anton Chekhov and Haruki Murakami: a slow reading analysis of “Drive My Car”

The study aims to employ the method of slow reading to analyze the short story authored by Haruki Murakami. Intertextuality is the predominant feature of the narrative, the references to the Beatles’ song and Ernest Hemingway’s collection of stories add to the subtext of the story. However, it is the allusion to Chekhov’s “Uncle Vanya” in the Meiji-era adaptation (translated by Senuma Kayō) that stands out among others as the basis for deeper understanding of the story’s nuances. The characters in the 2014 story encounter similar challenges as those in Chekhov’s 1890s play, where the inability to comprehend others raises a crucial question of how to continue living and for what purpose. Misaki’s articulation of the answer echoes Sonya’s words from “Uncle Vanya”, emphasizing the necessity of enduring difficulties and persevering in one’s trained and most proficient area. The literary work “Drive My Car” epitomizes the characteristic style of Haruki Murakami, as evidenced by his fondness for music and incorporation of songs and musical elements, his propensity for employing allusions, quotations, and other forms of intertextuality. The story is similar to Chekhov’s play in the melancholic tone of the narration, lack of action, loose plot structure, a metaphorical employment of mundane life events, the choice of words the text is made of. Chekhov and Murakami stand together in their refusal to judge or blame their characters, in their acceptance of life in all of its most complicated manifestations.

Images of intertextuality in the novel “The Waste Paradise” by the writer Laila Al-Juhani - an applied structural study

Intertextuality is one of the terms of the structuralism, which indicates the nature of texts, and also refers to the culture of the writer, and enriches the semantic value of the language in the new text and its narrative frameworks, especially in the art of the novel, which extends in its temporal and spatial horizon and the number of pages over a long period, so intertextuality becomes more present. It is clear to both the educated reader and the researcher. Hence this study that explains the forms of intertextuality in the novel “The Waste Paradise” by the Saudi writer Laila Al-Juhani, as her novel has a vast narrative space, containing different types of intertextuality in particular, that are in harmony with the story of the novel and its events on the one hand, and develop semantic depth, or It conveys it in a highly artistic and beautiful way on the other hand, and demonstrates the extension of some meanings historically on the third hand, and explains some human events on the fourth hand. The most common types of intertextuality in the novel “The Waste Paradise” are: historical intertextuality, literary intertextuality, religious intertextuality, and artistic intertextuality. The study was keen to include the original text from which the author quoted the texts of her novel in a clear manner in the text, and by extracting each text in a systematic and transparent manner in the footnotes as well. In order to ensure scientific accuracy and credibility in the research, the study ultimately concluded with many results of great importance, which the study summarized at the end of the research through a separate section, including but not limited to: The writer employs religious intertextuality, calling for ideals and values that are absent from human reality. Contemporary on the one hand, and you made the narrative more realistic and depictive of life on the other hand.

Kalbotyros straipsnių sąsajos su kitais mokslo tekstais

Scholarly text conventions are important when writing texts, especially in a foreign language. Intertextual relations with other texts are a characteristic feature of scientific language. As Lithuanian and foreign researchers point out, this is manifested by quoting, paraphrasing and summarizing. In examining the intertextuality of academic language, researchers also draw attention to its multilingualism. Based on the above-mentioned forms of intertextuality, this article analyses the intertextuality features of linguistics articles written in Lithuanian. The analysis shows that direct quotations in Lithuanian articles include short phrases or even full sentences from other authors’ texts imbedded in a sentence, with or without introductory phrases. In English, Polish or Russian, direct quotations can also be inserted into a sentence. Quotations from other languages are given with or without translation. Paraphrasing has been observed to be more frequently used, as the reformulated statements of other authors do not destroy the linguistic integrity and cohesion of the text. This is especially useful when quoting texts in other languages.
 A reference is one in which the text does not directly or indirectly reproduce the statements of other authors, but merely refers in some way to previous research. Scholarly terms from other languages, usually English, presented as equivalents of other languages together with the Lithuanian term or even without it., may be treated as a case of multilingual intertextuality. Although precision is often pointed out as a feature of academic language, the linguistics articles analyzed show many instances of paraphrasing and referential intertextuality. Such intertextual interfaces substantiate the research presented in the article or the scientific issues raised, establish their place within a wider range of sources, and convey the author’s thought in a condensed way in the language of the publication, without breaking the typographic and linguistic unity of the text. Multilingual intertextuality shows that it is important for researchers of the Lithuanian language, who publish their texts in Lithuanian, to locate their research in the international context of linguistics and to establish a scientific dialogue with researchers of other countries and languages.

A Phenomenon: Ion Pribeagu

Abstract After leaving the Jewish fair of Sulita, Ion Pribeagu, the author of the lyrics of a famous song, Zaraza, became known throughout Romania, and not only, for his humor, satirical verve, inspiring portraits, unexpected forms of intertextuality. Signing under different pseudonyms, such as Ion Pribeagu, he wrote about families, characters, gastronomy, world and its habits, with sparks of comic genius. Living more in Bucharest, where he had become a kind of living legend, emigrating and dying in Tel Aviv, Ion Pribeagu, through everything he wrote, conceived his own fair, something between Sulita and Bucharest, where Romanians and Jews have cohabited at will.

Text and Context in Multimedia Translation

Multimedia translation refers to the process of translating multimedia content, such as videos, audio, and images, from one language to another. This type of translation is becoming increasingly important as more and more content is being produced and distributed globally. Multimedia translation is a complex field that requires in-depth technical and linguistic expertise and a thorough knowledge of the culture and communication norms of the target language. Plurisemiotic and micro-textual analyses of translations can help to develop an effective translation grid. The aim of this article would be, on one side, to restore certain implicit and explicit parameters of a silent source text so that a multimedia translation faithfully communicates the original and multidimensional meaning of a source text. On the other side, this article will try to demonstrate the usefulness of applying some concepts from a branch of socio-semiotics concerned with the production of multimodal texts that can be easily incorporated into existing methods in translation studies. As technology continues to evolve, we can expect multimedia translation to become even more sophisticated and effective. We will try to show in this article that the real context occupies a large place in which the work of translating audiovisual programs is carried out while presenting the various challenges of audiovisual translation, which is part of an extremely dynamic field that combines theory and practical. The aim of this article is to attempt to provide answers to these questions due to the increasing complexity of textual concepts and text production today. Translation and text production sometimes become almost indistinguishable, which will increase the emphasis on text analysis and different forms of intertextuality rather than on translation in the strictest sense.

The Forms of Manifestation of Intertextuality and Their Role in Creating the Text World of “Omon Ra” by V.O. Pelevin

In the domestic culture of the beginning of the 21st century, the crisis of value attitudes of a modern person, whose consciousness is subject to manipulation, has aggravated. The phenomenon of manipulation of consciousness has its own history, but it gained particular strength in the 20th century, when the media, art, and advertising became the main conductors of power. At the beginning of the 21st century, the information and communication space becomes the main tool for manipulating human consciousness. The phenomenon of intertextuality has become widespread in works by V.O. Pelevin, one of the brightest representatives of Russian postmodernism, the author of Omon Ra, the novel that reveals a creative rethinking of the transformation of the cruel Soviet reality of the 1990s. In this article, the novel is interpreted through the identification of manifestation forms of intertextuality and the defining their role within the framework of a united artistic world of the text. The intertextuality of the novel is expressed by intertextual components: literary borrowings, imitations, overt and covert citations, allusions, reminiscences, poetic inclusions, irony. These intertextual elements represent the cultural layer of the novel text being interconnected with the storyline of the work. V.O. Pelevin managed to emphasize the main thing in his heros character the ability to doubt dogmas; to reveal the duality of the heros world, who goes through difficulties before deciding to free himself from the cruel system that destroys any I. Intertextuality the text of Omon Ra provokes a play of meanings and a plurality of interpretations, helps to achieve the creation of a multi-level text, which is made of the cultural and ideological layers of the Soviet era, which the author characterizes as a time of deliberate falsification of history and manipulation of human consciousness. The author constructs an artistic reality built at the intersection of the real and unreal, the real and illusory worlds.

Forms and functions of intertextuality in academic tweets composed by research groups

This paper explores the forms and functions of intertextuality in academic tweets composed by research groups. Academic tweets are dialogic and intertextual texts, usually composed by incorporating other voices and taking up text-visual elements from other contexts. Based on the analysis of 300 tweets taken from the Twitter accounts of four research groups in two different disciplines (Chemistry and Medicine), this study investigates the ways in which intertextual practices contribute to the communicative purposes of the genre. The analysis shows that the affordances of Twitter (e.g. hyperlinking, modularity, multimodality) and the purpose of academic tweets shape the forms and functions of intertextuality in these tweets. When composing these tweets academics both reconfigure well-established forms of intertextuality and display novel forms which help them to promote their research, negotiate their relationships with their readers, and share content with diverse audiences.

Researcher commentary on Warren (2013): The prevalence and forms of intertextuality

The idea for this article owes much to the work of Vijay Bhatia who at the time was working just up the road from me in Hong Kong. I was fortunate to be able to hear firsthand the typology he had developed to classify forms of intertextuality. Whenever I come across an area of applied linguistics that is new to me, I am eager to apply it to my own data. This both helps me to better understand it and analyse how it is realised. My article was a first attempt to quantify the forms of intertextuality found in two corpora of email discourse flows that I had collected from two professionals working in different industries in Hong Kong, merchandising and information technology. I made adjustments to Bhatia’s typology which are detailed in the paper and set about identifying the forms of intertextuality. Given that all texts are intertextual, there was nothing surprising about finding forms of intertextuality in every email. What was of significance was that the quantities of the different forms varied across the two professionals due to the nature of their work suggesting that patterns of use are profession-specific.

Intertextual References and the Literary Canon in Children’s Literature

The article focuses on different forms of intertextuality in children’s literature. To link the intellectual elements, one needs to possess the knowledge of canonical texts. Without this, contemporary literary texts that contain such elements might not function well. Also, lack of knowledge of the source text can result in part of the story being lost. The present article demonstrates different intertextual connections on the example of selected stories involving the metamorphosis of a frog as the main literary and (apart from Lila Prap) also the title character. The source text is The Frog Prince or Iron Henry by Brothers Grimm, while the works studied are Saša Vegri’s Jure kvak kvak (George Croak, Croak), Lila Prap’s 1001 pravljica (1001 Stories), Bina Štampe Žmavc’s O žabi in princu (About a Frog and a Prince) and Andrej Rozman Roza’s O začaranem žabcu (About the Enchanted Frog).

Слова, слова, слова: Книги в книгах Данте, Шекспира, Пушкина, Достоевского

“Books within books” as a form of intertextuality is a characteristic phenomenon of all world literature. All the writers listed in the title of the present essay may serve as examples of intertextual dialogue between books, as their works were rooted in preceding sources and in turn became part of later literature. The article, however, is based on a report at a conference which proposed to consider how books appear in other books not only as allusions or sources, but as immediate elements of the text. In this essay two of the research directions, suggested by the organizers, are combined and explored: the books read by literary heroes created by writers who influenced Dostoevsky’s work and the role and the artistic image of books in the art of the Russian writer himself. Consequently, the choice of writers and their texts is not a random selection: Dante, Shakespeare, and Pushkin each in his own way had an impact on Dostoevsky; at the same time, in many of their works books appear as physical objects, being at once both “things” and impulse for the reader to think about. The article explores several of Dostoevsky’s compositions where books by Dante, Shakespeare, Pushkin, and even his own, appear either as part of an intertextual mosaic, or as material “artifacts.” The research shows the deep connections between the authors, both on a level of ideas and through the thematic of books. The end of the paper draws a parallel between the episodes of Dante’s Comedy and Dostoevsky’s Crime and Punishment where two characters together are reading one book that in both cases becomes a guide to Love.

Прецедентные феномены в заголовках немецких медиа

The article is devoted to the use of precedent phenomena in the headlines of media texts. These phenomena create parallels with other texts or events, making information more accessible to a wide range of readers who may not be familiar with legal, economic, or political terminology. The research is based on the results of studying precedent as a form of intertextuality and the classification of precedent phenomena by Russian scholars. The introduction briefly presents the history of this topic. The article argues that the use of precedent phenomena in media texts not only creates necessary associations but also reflects the author's stance on thedescribed issue or phenomenon. It also highlights the emotional aspect and creates vivid associations to facilitate readers' understanding of the essence of the events being described. The study shows that authors of the informational and political publication Der Spiegel, which served as the source material for the research, prefer to use detailed and informative headlines aimed at providing readers with a comprehensive understanding of the text's content. The use of precedent phenomena in headlines is primarily aimed at engaging with a broad readership, which explains the choice of corresponding phenomena of universal and national order. These phenomena help create images and associations that are understandable to representatives of different cultural communities. Furthermore, authors of news texts in Der Spiegel adhere to journalistic ethical principles, and therefore, the headlines of the texts primarily serve communicative and informative functions, while the emotional function plays a secondary role.

Painting in Time: The Role of Painting in Andrei Tarkovsky’s Solaris

Cinema’s unique ability to capture and screen other art forms has led to a series of pertinent theoretical arguments from thinkers like Sergei Eisenstein, Rudolf Arnheim, Andre Bazin, and many other film theorists. As one of the renowned pillars of transcendental cinema, Andrei Tarkovsky explicitly and frequently utilizes classical works of art in his films. These forms of intertextuality are congruous with his artistic intuitions as a filmmaker and his fascination as a religious person with spiritual concepts like time and memory. This article is organized into several sections. Firstly, it intends to introduce some of the most prominent and influential theories about the relation between cinema and paintings. By accentuating Bazin’s famous essay, “painting and cinema,” the representation of peter Brueghel’s well-known painting hunters in the snow by particular cinematographic techniques in Andrei Tarkovsky’s Solaris (1972) will be investigated. Drawing on Gilles Deleuze’s ideas about temporality in cinema, It will be argued that by adopting a Bazinian approach toward filming a painting, the painting acquires the characteristics of a time-image and thus, the virtual and the actual become intermingled in it. Moreover, the painting-image turns from a static medium into a temporal, cinematic medium. In the last section, the aesthetic and narrative functions of the mentioned painting in Solaris will be discussed through Henri Bergson’s philosophy of memory.

THE CATEGORY OF INTERTEXTUALITY IN A CONTEMPORARY DETECTIVE NOVEL (BASED ON THE NOVEL “TROUBLED BLOOD” BY R. GALBRAITH)

New forms of intertextuality are constantly being discovered in fiction, which requires a common methodological basis for its analysis. A brief overview of English-language detective stories shows that intertextuality in this genre can be realized in different forms and perform various functions. The leading research method of the study is interpretive analysis of the links between the quoting and quoted texts. A great number of quotations used as epigraphs to the novel “Troubled Blood” by R. Galbraith, gives grounds to assert that the book contains two texts, which inevitably makes the reader compare them, identify analogies, similarities and differences. The analysis of interaction of the texts that are different in time, themes and genres but are united in one artistic whole plays a significant role in interpreting R. Galbraith’s novel, understanding its characters, themes, plot lines, solving the novel’s intrigue. Comparing epigraphs and corresponding chapters of the novel gives grounds to conclude that there are two variants of their correlation - correspondence at the level of the content and contrast at the level of the form. Intertextuality of the novel under study demonstrates synthesis of genres, functional styles, ideological and imaginative standards, which becomes the basis for the work’s structure, creates a dialogue of different eras, cultures, literary traditions.

“What unholy Chart is this?!”: Paratextual intertextuality in Gentleman Jack fan posts of scholarship on Anne Lister

While intersections of scholarship and fandom have previously been discussed in terms of the scholar-as-fan, rather less theorized is the converse situation, where nonacademic fans draw on scholarly research and remake it as fan-circulated content. Gentleman Jack (BBC/HBO, 2019-present), a television series based on a real person, Anne Lister, about whom there is an existing body of scholarship, provides examples of this phenomenon, with fans excerpting text from biographical sources and extracting and remaking a dissertation’s diagram of Lister’s relationships with various women. This essay analyzes these fan texts as paratexts associated with the primary Gentleman Jack text, situating them within research that recognizes the increased significance of paratextual commentary to the reception of contemporary media texts. The fan posts also demonstrate distinctive forms of intertextuality that interweave the content of the show, scholarly research on Lister, and references to other popular media representations of lesbians. At the level of LGBTQ representation, enthusiasm amongst many queer viewers for Gentleman Jack and Lister reflect the rarity of having a lesbian lead in a well-budgeted, prestige television series. Furthermore, given the dearth of lesbians in academic historical accounts, the fan-generated texts discussed in this essay demonstrate how hybrid forms of popular media-academic scholarship fan posts also counter lesbian underrepresentation with respect to scholarly discourse.

The Witch in the Closet: Disney's Frozen as Adaptation and Its Potential for Queer and Feminist Readings

The Witch in the Closet: Disney's <i>Frozen</i> as Adaptation and Its Potential for Queer and Feminist Readings

Entanglements of adaptation, allegory, and reception: Jaws and An Enemy of the People

ABSTRACT In this article the authors discuss Steven Spielberg’s Jaws (1975) with Henrik Ibsen’s En Folkefiende (An Enemy of the People; 1882) as a test case for formulating a better theoretical understanding of adaptations that are neither “announced” nor “extended”; the analysis thus explores adaptation as a special form of intertextuality. The authors reference other cinematic engagements with the same play, including Hans Steinhoff’s Ein Volksfeind (1937), Detlef Sierck’s La Habanera (1937), George Schaefer’s An Enemy of the People (1978), Satyajit Ray’s Ganashatru (1989), and Erik Skjoldbjærg’s En folkefiende (2005), as they investigate the importance of polysemic allegorical structures, the inherently “dialectical” nature of the process of adaptation, the role of reception in newer theories of adaptation, and the implications of understanding adaptation as a particular film genre. The authors propose viewing adaptation as a process that necessarily includes the audience’s understanding of hypotext and hypertext in ways that influence meaning production; it invites consideration of the source text in the film’s reception, consequently linking the source text and its author to other cultural and social discourses that, in turn, influence their reception reflexively in light of the adaptation.