Intertextual Elements Research Articles

ЕМІГРАЦІЯ ЯК ЛІТЕРАТУРНИЙ СЮЖЕТ У НОВІТНІЙ УКРАЇНСЬКІЙ ПРОЗІ: ХУДОЖНІЙ ДОСВІД ТАНІ МАЛЯРЧУК

The article is devoted to the topic of emigration in modern Ukrainian literature. It is noted that its various variants - motives for departure, actions, deeds, psychology of migrants, their achievements and illusions were artistically interpreted in the latest Ukrainian prose, most often in the novel genre (the works of Irene Rozdobudko "Morning cleaner", 2004, "I know, what do you know, what I know", 2011, V. Eshkilieva "Paphos", 2002, Natalka Doliak "Gastarbaiterka", 2012, Natalky Snyadanko "Frau Müller is not ready to pay more", Irena Karpa "Good news from the Aral Sea", 2019, A. Chapaia "We have arrived”, 2015, Olga Slonivska "Lost in Time", 2018, as well as the British writer of Ukrainian origin, Maryna Levytska "Two vans", 2008, "A short history of tractors in Ukrainian", 2013, and others). Similar topics and issues are raised by Tanya Malyarchuk in another genre format - in the story "Frogs in the Sea" (2019), written in German and awarded the Austrian Ingeborg Bachmann Literary Prize. For this, the author chooses a "plot of external displacement" (Olena Romanenko), focusing on the fate of two lonely, abandoned people from different worlds - a Ukrainian emigrant Petro and an aristocratic Viennese Frau. In the development of the plot, the writer combines external (life without a passport in a foreign country, violation of the law, constant desire to be unnoticed, to do the dirtiest work) and internal (reflections on one's own life) conflicts, focuses on the loss of the usual coordinate system by the main character - not only in a foreign country, but also in the homeland, where no one is waiting for him - neither his mother nor his lover. Therefore, with the help of the symbol that was included in the title of the work (frogs in the sea), intertextual elements (allusions to the image of smoke in the poetry of Lesya Ukrainka, the images of Natalka and Peter from I. Kotlyarevsky's drama Natalka Poltavka) the author, starting from the theme of emigration, raises essential, common human problems: about the meaning of human life, about love as the highest measure of humanity, about the inevitability of time, about a person's right to choose and responsibility for it.

ЕМОТИВНА КРЕАТИВНІСТЬ ЯК БАЗОВА ХАРАКТЕРИСТИКА КОМІЧНОГО ЕКО-ДИСКУРСУ

This article focuses on the ecological approach in comic discourse which aims at analyzing the interinfluence of language environment and person’s environment, regulated by emotions. It is proved that violation of norms (language, logical, ontological, valorative) in eco-discourse is the key factor of paradoxicality, which is a norm for humour. Thus, the essence of comic eco-discourse lies in its variation. We conclude that flexibility in comic eco-discourse depends on creativity of a discourse identity. Creativity presupposes charisma, talent, inspiration, intention to create something unique, wit etc. In our work a creative discourse identity is the postmodern American writer-humorist Dave Barry. The author’s linguocreativity finds expression in the language game – postmodern technique of comic. Dave Barry’s postmodern texts include: incongruent combination of a title and a picture, violation of graphical norms, specific book cover with a self-ironic photo of the author, usage of the intertextual elements (allusions, parodies, reminiscences, quotes etc.). Scientific research demonstrated the interaction of Dave Barry as a discursive identity with the world that surrounds him through the medium of the comic. The comic author tries to improve the surrounding world by non-canonical variation of the comic means, and thereby contributes to the ecology of discourse.

ІNTERTEXTUAL HUMOROUS ELEMENTS IN THE ANIMATED SERIES GRAVITY FALLS AND THE SPECIFICS OF THEIR TRANSLATION INTO UKRAINIAN

The main goal of the work is to consider the English-language animated film text “Gravity Falls” directed by Alex Hirsch, to identify the means of intertextuality of humor in it and to point out the peculiarities of their translation. It is emphasized that today, for scientists, the film text is a rich material for study due to its multidimensionality and dynamism, representing the dynamics of socio-cultural development of society in general and language in particular. The concept of intertextuality is based on the belief that all literary works are derived from or influenced by a previous literary work. There is intentional intertextuality, which borrows intentionally from texts, and there is covert intertextuality, where references occur accidentally (the connection or influence is not intentional), since any written text makes intertextuality possible. Some intertextual references are precise lines of dialogue or action, while others are more vaguely referenced. Any work of literature that participates in the creation of a new text is considered intertextual. When translating humorous elements, a specialist must take into account a number of factors. As for the transfer of a comic effect, it is quite a difficult task that requires consideration of various factors. Each language has its own specific linguistic devices for creating comic effect, and it is extremely unlikely that the same devices will be used in translation. That is why it is almost impossible to find a complete equivalent of wordplay or rhyming jokes in another language. The effectiveness of the transmission of the comic effect depends on the degree of coincidence of the background knowledge of the addressee and the recipient. Comic contexts that require awareness of another culture will often be untranslatable using equivalents. All these features greatly complicate the process of translating a cartoon, which is saturated with intertextual elements. Keywords: audiovisual translation; humorous elements; intertext; intertextuality; context; film text; techniques of translation.

Интертекстуальный потенциал библейских фразеологизмов

This article discusses the realization of the intertextual potential of phraseological units of biblical origin. It clarifies the status of the biblical text as a constant intertext, which, on the one hand, accumulates numerous texts of different genres and time periods and, on the other hand, is a source of intertextual elements in the form of allusions, winged words and quotations, abundant in new texts. In this paper, a biblical phraseological unit is understood as a stable, reproducible linguistic unit which structurally can be presented in the form of a phrase or a sentence with a partially or completely reinterpreted meaning and is etymologically related to the Holy Scripture. Studying biblical phraseological units within the framework of the theory of intertextuality is most important to understand the special role of the biblical text acting as a global pretext and producing various kinds of intertextual elements that can be reproduced in new texts, preserving, in most cases, their semantic link to the original text. Phraseological units of biblical origin, in their turn, being used in donor texts, carry a powerful expressive charge, enlivening and enriching our speech, transforming and developing. The following research methods were applied here: analysis and synthesis, generalization, hypothetico-inductive method, contextual method, phraseological identification, and phraseological analysis. As an illustration of the theoretical aspects of this study, the most frequently used biblical phraseological units are analysed, examples of the use of biblical phraseological units in English texts of different types of discourse are provided. As a result, a conclusion is made that biblical phraseological units have high intertextual potential due to their ability to reflect the phenomena of reality and the speaker’s attitude toward them in a concise, felicitous, figurative and expressive form.

Dumuzi and Ĝeštinanna

The present article contains the philological edition of the Old Babylonian Sumerian composition Dumuzi and Ĝeštinanna (UET 6, 11), a study of its literary characteristics, intertextual elements, allusions, and early hermeneutic techniques.

Holy Land Sanctity for Every Greco-Roman City: Rethinking the Lukan Apostolic Decree (Acts 15:19–21)

Abstract The meaning of the enigmatic verse of Acts 15:21, not to mention the issues around the preceding Apostolic Decree (vv. 19–20), has largely been researched individually and historical-critically. By contrast, in this study I explicate the meaning of the verse within the broader scope of James’s speech by attending to the Jewish spatiality on Luke’s narrative-ideological plane. The Lukan James’s speech tightly combines intertextual elements that bear on significant Jewish spatiality, namely, the restored tent of David (v. 16) within the quotation of Amos 9:11–12, the alluded-to holy land (v. 20) drawn from Lev 17–18 as the background of the decree, and the Jewish synagogues in every city (v. 21) as the background of James’s final invocation of Moses. From this perspective, I propose that v. 21 is part of the Lukan narrative-ideological portrait that reconfigures the holy land’s purity concern via the eschatological presence of the restored Davidic tent, making it relevant to the larger Greco-Roman world in accordance with the continuing monotheistic cultic sanctity.

CULTURAL ALLUSIONS IN TEXT CREATION OF UKRAINIAN AND RUSSIAN FANTASY

The article is devoted to the analysis of allusion as an element of intertextuality, which plays an important role in the text - making of Russian and Ukrainian fantasy texts. Scientific investigations are analyzed, in which there are definitions of allusion as a stylistic figure and stylistic reception, hint and indirect reference. The origin of allusion as borrowing of a pretext, and also its semantic-compositional role in expression of constructive intertextuality (according to N. Fateeva) is characterized. It is determined that allusions, according to A. Tyutenko, work to increase the content. The own definition of the concept of allusion as a dual (verbal-non-verbal) means of actualizing the cultural and historical memory of the reader is proposed. The duality of allusion is that it can be intertextual or intermedia, with reference to the fine and audiovisual arts (including cinema, opera, ballet), music, and so on. The cognitive-suggestive function of allusion is important. In addition, the question of distinguishing between the concepts of "precedent phenomenon" and "allusion" arises. In our study, allusions may contain precedent phenomena - names, names, situations, etc .; but allusion is a broader concept because it is a hint, and a hint does not necessarily contain specific onyms. On the other hand, the precedent phenomenon is not always an allusion in the literal sense of the word, it can be a quotation or just a reference to a well-known fact, such as dictionary definitions. Allusion as an intertextual element appears on the verge of combining two contexts - the source, from which the author chooses the element he needs, and the new, newly created. Very often allusive vocations work as analogies, comparisons of the new and the well-known. However, the vast majority of allusions used in fantasy are built on the use of precedent phenomena - universal-precedent or national-precedent. Culturological (religious, mythological, fairy-tale) allusions were analyzed on the basis of a total of 570 fragments (17% of the total number of intertextual elements selected from the source base (3341.)). in the table, exceeds 570 due to the fact that certain varieties overlap: artionyms can be a variety of fairy tales and a variety of literary, intermedia, as well as anthroponyms, poetonyms, etc. We did not distinguish between attributed and non-attributed allusions, the reason is small the number of attributed allusions in fantasy works. Examples from the works of Volodymyr Arenev, Darya Korniy, Niki Kallen, Max Frei and other Ukrainian-speaking and Russian-speaking writers are given. We came to the conclusion that mythological references are convenient to divide by cultural source: Aztec, East (Tibet), Greek culture, Egypt, China, Scandinavian mythology and Slavic. It should be noted that references to Slavic mythology are the most common in Ukrainian fantasy, while in Russian they are almost non-existent. Religious allusions are more part of the recipient's permanent intertextual field, which allows for the creation of intertextual connections with the religious context (sacred texts, material artifacts), as well as to enrich the arsenal of magical elements in fantasy discourse. Folklore allusions are part of a group of ideological allusions - folklore vocations to folk art reflect the people's ideas about the world around them, so they contain mythonyms, theonyms, etc., and are closely related to magical discourse through the involvement of mythonyms, theonyms, names to denote chimerical creatures and other signs of the fantastic.

The reflection of the intertextuality between Ahmet Ümit’s novel İstanbul Hatırası and the novels of Umberto Eco on A Memento for İstanbul

Temelini postmodernizm ve yapımsökücülükten alan metinlerarasılık bir metnin anlamlandırılması ve metnin daha iyi anlaşılması açısından büyük önem taşır. Metinlerarasılık bir eserle başka eserler arasındaki her türlü bağdır. Bu kavram hiçbir metnin bağımsız olmadığını ifade eder ve her metnin başka metinlerden izler taşıdığına vurgu yapar. Metinlerarasılık geçmiş ve gelecek arasında kurduğu ilişki ile kültürel bellek işlevi de görür. Dolayısıyla metinlerarası unsurların aktarımı bir kültür aktarımı ve kültürel belleğin devamının sağlanmasıdır. Metinlerarasılık kuramı başta Mikhail Bakhtin olmak üzere Julia Kristeva, Roland Barthes, Michael Riffaterre, Gérard Genette, Laurent Jenny ve Umberto Eco gibi araştırmacıların konuya ilişkin bilimsel katkılarıyla bugünkü konumuna gelmiştir. Bu çalışmada Ahmet Ümit’in İstanbul Hatırası romanı ile Umberto Eco romanları arasındaki metinlerarası ilişkiler incelenmiş ve bu metinlerarasılığın eserin İngilizce çevirisine ne ölçüde yansıtıldığı değerlendirilmiştir. İnceleme Rakesh Jobanputra’nın A Memento for Istanbul başlıklı çevirisi üzerinden yapılmıştır. Çalışmada aynı yayınevinin farklı yıllara ait iki çeviri eseri ve kaynak eser karşılaştırmalı olarak incelenmiş, bazı metinlerarası unsurların erek kültüre aktarılmadığı gözlemlenmiştir. Kaynak metinde yer alan göstergeler, semboller ve kültürel ifadeler metinlerarasılık kuramı kapsamında gönderme, alıntı, öykünme, iç anlatı, klişe ve çok katmanlılık örnekleri üzerinden sunulmuştur. Çok seslilik özelliğiyle okura çoklu bir okuma imkanı sağlayan İstanbul Hatırası eseriyle Umberto Eco’nun çalışmada bahsi geçen romanları arasında biçimsel özellikler ve metinlerarası ilişkiler bakımından benzerlikler ve koşutluklar olduğu anlaşılmıştır.

Physical Eschatology: On the Nature of "the New Heavens and the New Earth"

For centuries, Christian believers have endured hardships and persecution with the hope of an eschatological transformation of life as we know it. While on this Earth we experience pain, suffering and death, the Bible speaks of a future transformation of physical reality, a “new heaven and a new earth” (Rev 21:1). However, how should Christians interpret this expression? Is it a physical description of the new universe? Or is it a reference to a change in political, social or spiritual conditions of society as a whole? How does this expression appear in the Old Testament and how is it used by New Testament writers? This article focuses on these questions and points to the intertextual elements between both Testaments while searching for a coherent interpretation of that emblematic expression.

Expressive function of intertext in the philosophical prose (based on the novel "Sled ptici v nebe" by B. Momyshuly)

The article examines the expressive activity of intertext in philosophical prose. The relevance of the work is due to the lack of a special scientific study devoted to the expressive activity of intertext. The object of the study was Bakytzhan Momyshuly’s philosophical novel “The Trail of a bird in the sky”. Intertextual elements link the text with other texts of the functional style. In this regard, intertextual elements are found in a literary text in various typologies and perform a different function. Expressiveness means strengthening the content of this text, systematization of certain information, drawing attention to it. The implementation of the expressive function of the intertext is possible only when the intertext is connected to the communication process, i.e. to the communication process. Expressiveness, according to many researchers, consists in a complex understanding, the main components of which express each other and interact in language. These include emotionality, intensity, imagery, evaluation. Artistic text is especially characterized by expressiveness as a means of creating artistic images. An artistic image is the basis of a literary text. In philosophical novels, it is reflected in the form of emotions, feelings, states of consciousness, connecting reality and fiction through the imagination of the writer. Possessing artistic and aesthetic qualities, the language of fiction refers to a certain system of means of verbal and artistic expression. Artistic speech has its own linguistic features. Expressiveness contributes to the creation of new means of conveying the thoughts and feelings of the speaker. A philosophical text affects the reader emotionally and aesthetically by communicating certain information.The difference between the concepts of expressiveness and emotionality made it possible to clarify a number of provisions concerning expressive semantics. The work of E. M. Galkina-Fedoruk, L. E. Mikhailova is devoted to the correlation of the concepts of expressiveness, emotionality. In their opinion, the category of emotionality is divided into several types: expressiveness-emotionality-evaluative (emotional); words defining moral assessment (decent, honest) refer to units of emotional assessment as expressive. The author’s position: even without expressiveness, these units cannot be emotionally evaluative. Although many linguists have studied the theoretical foundations of linguistic expression in fiction and its practical application, it is the expressive function of intertext in works of fiction that has not yet been sufficiently studied.

The cultural code and architectonics of the space of A. Ilichevsky’s novel «Newton’s Drawing»

The present article deals with the interaction problem between human and time as exemplified in the novel of A. Ilichevskys novel Newtons Drawing. The aim of the present research work analysis of the literary text, its structural and compositional elements, artistic images from the authors concept regarding his / her personal perception and translation of the protagonists cultural code. The cultural signs, symbols and codes are synthetized in the text via artistic images. The writer creates a multidimensional space in the novel through the readers exposure into the spheres of culture, music, painting, theater, photography, references to other literary texts. The unified cultural of a literary work is created with the help of the focalization literary technique on the image of protagonists father. In the novel the readers come across the main character, Konstantin, searching for his significant parent, his father. The son reflects on his intimate memories regarding his father, his aesthetic preferences, his fathers creative works. These memories help the readers understand the complex essence of the protagonist, his intellectual and cultural values. Architectonics of the text is also created via paratextual relationships, that broaden the boarders of the novel as a separate text up to the cultural text level in terms of semiotics. The artistic space of the novel is filled with the cultural symbols of the past. It also includes intertextual elements of the purpose of the citys solid image creation via system or symbols sum in the novel, The head motif of the novel the search of the father via understanding his values, his life, as well as an attempt to find the protagonists own path, gain the main characters significance and penetrate into his cultural code.

Lighting, signing, showing: The circulability of Pink Dot's counterpublic discourse in Singapore

AbstractPink Dot, a homegrown LGBTQ activist group based in Singapore, has been treated as a social movement since its inauguration in 2009, and they organise an annual event to advocate for LGBTQ individuals. In 2020, due to the coronavirus pandemic, the twelfth edition of the event (PD12) took place online as a livestream on YouTube. The highlight of PD12 was the unveiling of a ‘digital pink dot’ via a virtual map of Singapore, where the permeability of its discourse in virtual and physical spaces became much more apparent in comparison with previous physical iterations of the event. Approaching the data with counterpublic and citizenship theory, I outline the circulability of discourse as the key feature of a counterpublic, and argue that PD12 achieves this in two ways: (i) the semiotic fragmentation of its physical signs and online discourse; and (ii) the deployment of intertextual elements in a drag performance.

Investigating Intertextual Elements in Naguib Mahfouz’s Novel “Khan al-Khalili” (1946)‎

‎ Intertextuality can generally be defined as ‎the effect and presence of previous texts in the ‎structure of the ‎present one; it actually shows the internal relationships of a literary text with all ‎other related texts. There is a consensus that no texts are a complete creation of their authors; ‎rather, they are constructed through a process that links the textual elements of the related texts ‎with the writers’ creativity. In literary genres, intertextuality is employed to play a crucial role. ‎Thus, the writers, un‏/‏deliberately, appeal to intertextual elements, elaborate them in their artistic ‎career and creativity to produce the intended text. The study addresses the problem that some ‎readers' unawareness of intertextuality results in misunderstanding and misinterpreting a text ‎filled with intertextual elements. The study aims at investigating the intertextual elements in ‎Mahfouz’s novel Khan al-Kahlili (1946). The hypothesis this study puts forward is that a reader ‎who is well-acquainted with the functions of an intertextual elements is more capable of ‎comprehending and interpreting intertextual texts. As for the analysis of data, the study has ‎adapted Genette's model of intertextuality ( 1997), namely, explicit and implicit intertextuality. It ‎is found that intertextuality is an important and useful device for both the text producers and ‎readers. It is also detected that the phenomenon of intertextuality is utilized by writers of literary ‎genres for various purposes such as: communicative, aesthetic, stylistic and rhetorical purposes. ‎

Intertextuality of Chekhov's “The Bet” with the <i>Quran</i>

The Bet (1889) is one of Chekhov’s short stories that was selected as the corpus of this study. Since a writer’s personal beliefs have influence on her/his works, then, it was normal for Chekhov to be influence by his personal religious beliefs. This story emphasizes the idea that the life of a human is far more valuable than money and it is immeasurable. Moreover, according to the <i>Holy Quran</i> human life is very appreciated. In "The Bet", the prisoner, sleeping as the banker enters, has written a letter stating that he will leave the room just five hours before completing the terms of the bet, thereby forfeiting his right to the fortune. Identifying and understanding intertextuality plays a significant role for a better reading experience which creates new interpretations as it brings another context, idea, story into the text and also offers one way for us to understand texts more properly. Therefore, Chekhov's "The Bet" can be interpreted in the light of intertextuality similar to any written text in the world using intertextual forms such as parody, pastiche, retellings, homage, and allegory. Intertextual elements can be seen in the Bet especially in the lawyer's letter that the lawyer writes abandoning the bet money. The information in the letter demonstrates there is no reason for the murder anymore, because it transfers the lawyer's new found beliefs.

House M.D. and Sherlock Holmes: An analysis of allusive intertextual elements

Intertextuality refers to the relationship among texts and can be observed both horizontally between the texts of similar genres and vertically between the texts of different genres. This relationship can be built through several literary devices, one of which is allusion. In this study, a vertical intertextual analysis was aimed at in the texts of Arthur Conan Doyle’s Sherlock Holmes stories and the world-famous TV series House, M.D. with a special focus on allusions. These elements were detected by three steps offered by Montgomery et al. (2007): notice, track, and become familiar. Then they were categorized in terms of explicit and implicit references. The results of the study point out that the House M.D. series is a highly allusive text, and it is thought that the allusions contribute to the success of this long-running series. Considering the target audience of both works, it can be thought that recognizing these allusions can be an enjoyable activity for the audience and guarantee a certain audience for the series. In this context, allusive intertextual elements can be considered not only as stylistic tools, but also as tools that provide familiarity and recognition for the alluded text.

Functions of Intertextuality in Some Extracts of Modern Arabic Novels.‎

‎ Intertextuality can basically be defined as the influence and existence of previous texts or ‎speeches in the construction of present one. The current study tackles the problem that ‎determining the functions of the intertextual elements helps in better understanding and ‎interpreting of literary texts. Thus, not well-equipped readers of intertextuality and its functions ‎get problems in interpreting and understanding some texts filled of such functions. The present ‎study aims to: firstly, investigate the intertextual types in some Mahfouz’s novel, namely,‎‏"‏Khan ‎al-Kahlili‏"‏‎ (1946), "al-Midaq Alley" (1947) and "Awlad Haratina" (1959), secondly, look at ‎the functions of intertextuality in the three novels under focus. The hypotheses the present study ‎puts forward are as follows: firstly, realizing functions of intertextuality is a crucial element ‎contributes for better understanding different layers of a literary text. Secondly, intertextuality ‎enhances and enriches the aesthetic structure of literary texts. As for the analysis of data, the ‎study has adapted Ahmed’s model (2010). Accordingly, intertextuality is divided into three ‎main types, namely, religious intertextuality, literary intertextuality and other types of ‎intertextuality. It is found that intertextuality is utilized by writers for: communicative, rhetorical ‎and aesthetic functions. It is also discovered that intertextuality is a useful strategy employed by ‎text producers.‎

Intertextualistic phenomenon in preeti shenoy's life is what you make it, it happens for a reason and a hundred little flames

Postmodern intertextuality abbreviates the relation between the texts that has related to incidents, quotes, allusions, translation and so on. The aim of the study accolades on the postmodern tendency of intertextuality in Preeti Shenoy’s selected texts, Life is What You Make It, It Happens for a Reason and A Hundred Little Flames. Preeti Shenoy is a multifarious postmodern writer. The term intertextuality has linked with other texts. The features of intertextuality are quotation, scenes, characters, narration, allusion etc. The notable theorists of intertextuality are Julia Kristeva, Roland Barthes and Mikhail Bakhtin, and the present study has adopted the intertextual concepts from the considered theorists. The methodology of the study splits into four intertextual concepts -- description of a word, different circumstances link, language and dialogue. The first two concepts, proposed by Julia Kristeva, are description of a word and different circumstances link. Roland Barthes has proposed the intertextual concepts of language and dialogue. Mikhail Bakhtin also has proposed the intertextual concept of language. These intertextual concepts are adopted in the present study, and the authors have investigated the intertextual elements in the select texts of Shenoy.

Galicia as an Intertext: the Concept of the Frontier in the Novel “The End of Days” by Jenny Erpenbeck

The article analyses the model of the cultural space underlying the image of Galicia in the novel The End of Days by Jenny Erpenbeck. The research is focused on the intertextual elements used to create this image, their functions and the range of their interactions with the concept of the frontier. The myth of Galicia, the works of Karl Emil Franzos, Joseph Roth, Johann Wolfgang Goethe as well as Old Testament stories and psalms are considered as the main sources of intertextuality. Based on the analysis it can be inferred that the novel uses the intertextual elements not only for the wide cultural contextualization of the image of Galicia but also for the subversion of both the myth of Galicia and the literary pretexts from which these elements are borrowed.

INTERTEXTUALITY IMPLEMENTATION IN MODERN ENGLISH AND SPANISH ROCK-SONG DISCOURSE

The article is devoted to the study of the intertext in modern English and Spanish rock-song discourses. The research focuses on the sources of intertextual elements and methods of implementing intertextuality in rock compositions. The study is justified by the variety of forms and mechanisms of sense formation in rock-song discourse that serves as a peculiar communication medium in the contemporary multicultural world. The research shows that the intertext of the rock-song discourse is influenced by the precedent phenomena of social, political and cultural life of both an individual nation and the world community as a whole; is formed by a variety of media, literary and religious prototexts, and is realized through citation, allusions, different forms of prototext modifications. The choice of the prototext is influenced by such factors as the genre of a composition, the issues addressed by the author, the author’s personality and social stand, linguistic culture producing the rock content, as well as social-political environment.

For or against genetically modified foods: Different discursive strategies in Chinese social media.

This study investigates the discourse of a long-lasting social debate over the safety of genetically modified food in China. Based on data from the social media platform WeChat, it adopts the perspective of critical discourse analysis to analyze what strategies are used in discourses of Chinese genetically modified foods to construct identities of the two opposing sides in genetically modified debates. The two sides use different rhetorical devices, argumentative strategies, and intertextual historical elements. Specifically, opponents of genetically modified food are inclined to use metaphors, moralization, intertextual proverbs, and revolutionary inflection to legitimize their position, while supporters often use irony, authorization, and historical allusions to legitimate as well as enhance their hegemony. I suggest that exploring how each side strategically constructs a discourse may facilitate better understanding and mitigate conflict between the two polarized viewpoints represented in social media.