Intertextual Links Research Articles

‘After All the Years of Separation’: Musically Representing Author L.M. Montgomery’s Suspended Romances

Canadian author L.M. Montgomery did not set out to write stories about romance. As she indicated in her journals, she wrote character-driven stories of young girls navigating their way through girlhood. However, she understood that the public, and her publishers, expected these girls to experience romance that culminated in marriage, following the societal traditions of the time. Montgomery managed this dichotomy by having many characters experience a suspended romance, delaying the romantic aspect of the relationship for as long as possible. Arts-based practice is a mode of analysis and offers the opportunity to find a new way of understanding and communicating Montgomery’s type of suspended romance. Music is, in many ways, considered romantic, so it is an appropriate medium to communicate Montgomery’s romantic narrative structures. This paper investigates Montgomery’s use of suspended romance in her novels and how this delay provided her characters with time to develop other areas of their lives. An arts-based methodology was used to identify and analyse recurring themes in Montgomery’s work, as the question is not can Montgomery’s theme of romance be musically represented but how. The result of this creative experimentation is a new musical composition that articulates these suspended romances using six different musical devices. This creative work exemplifies the intertextual link that exists between Montgomery’s work and new musical compositions.

An Ambiguity in limine: faveo in Two Incipit of Tibullus and Propertius

The article aims to analyse an intertextual link in the ambiguous use of faveo between Tib. 2.1.1 and Prop. 4.6.1, both elegies classifiable as ‘mimetic’ hymns and both ‘thresholds’ of the respective two books of elegies. It is intended to show how Tibullus, inspiring Propertius in this, understood the implicit resources of a verb like faveo in the context of ‘mimetic’ fiction, by which the officiating poet can simultaneously address the imaginary participants of the religious ceremony and the actual readers of the poem. The aim is to show how this Tibullian use of faveo, suggested by the poeta-sacerdos mimesis, not only instilled in Propertius, also in the role of officiant, the need to enfranchise a sequence such as favete linguis from its formular rigidity, but illustrated the expressive potential of the verb in the incipit position of an elegy as a source of metapoetic reflection, being able to subtly express an ambivalence suitable for defining an angle of privileged sharing between poet and readers, carved out at crucial points in Tibullus’ second book and Propertius’ fourth in which precisely faveo can make itself the bearer of a message transcended from the literal plane.

How Heroes Are Made. Erich Kästner's The handstand on the Loreley

Erich Kästner's poem Der Handstand auf der Loreley is an intertextual reference to the well-known Romantic ballad Loreley by Heinrich Heine. There are also intertextual links to other works of German literature. Kästner wrote the poem shortly before the Nazis came to power in Germany, as he had recognized the signs of the times: the latent rearmament, but above all the propagandistically prepared, ever more explicitly expressed cult of the hero. The heroization of even the most banal things or people in everyday life was a part of National Socialist propaganda. Kästner wanted to expose this process with his text, but it was already too late.

Judean Reception of the Elisha Narratives

Abstract Scholars have noted scribal attempts to undermine Elisha’s prophetic reputation in his promise to the Shunammite woman (2 Kgs 4:8–17). However, these readings fail to adequately consider the intertextual links between Elisha’s promise and Yahweh’s promise to Abraham (Gen 18:1–15): Why did the scribes link Elisha’s promise with Yahweh’s promise, especially when the narrative is largely hostile against Elisha? Paying attention to the possible context in Achaemenid Yehud, this article proposes a new interpretation of Elisha’s promise: It highlights scribal efforts to subjugate and silence Bethel, a northern Israelite cultic site believed to be the repository for Elisha traditions during this period. And it argues that the Judean scribes deliberately linked Elisha’s promise with Yahweh’s promise, as an “antithetical parallelism” to support their attempts to stigmatise Bethel’s traditions by pointing readers toward Elisha’s human weaknesses and limitations in his prophetic career.

“Above all, there’s our humanity”: Teachers’ intertextual responses to reading an ancient Hebrew text

This study examines the role played by intertextual connections suggested by teachers engaged in an interpretive dialogue on a sixth-century Hebrew text. This is a multiple-case study based on intertextual conversation research. The participants—26 Hebrew-as-L1 teachers in secular schools in Israel—were asked to study the text in havruta, a traditional Jewish approach to studying sacred texts, involving a dyad of learners who debate their meanings. Every havruta conversation was considered a case and was compared to the others. After the conversations, interviews were conducted with some of the teachers to learn more about the intertextual links that emerged. The findings suggested significant variance in the number and content of intertextual connections between the groups, given the teachers’ religiosity or previous experience with traditional Jewish texts. The connections suggested shaped the processing of the text, the teachers’ attitudes thereto, and their willingness to teach it. The main conclusion is that studying in multicultural havruta groups increases intertextual connections emerge and helps teachers to interpret the text.

Citation choices in L2 novices' and experts’ literature review sections: A functional discourse analysis

In response to Petrić’s (2012) call for comparing citation practices between student and published writing in the same field to better understand the interaction between developmental and disciplinary influences on the utilization of direct quotation, this paper conducts a comparative analysis of citation choices in 100 literature review sections of L2 master's theses and 100 research article literature review sections in the field of translation studies. This analysis utilizes a modified framework of functional options for cited information. The findings reveal a significant difference in the normalized frequency of citation options between the student corpus and the expert corpus. L2 master's students predominantly rely on single-source, author-responsible, long direct quotations with active voice and past tense. This approach is used to present source information without active engagement, suggesting their primary objective is to showcase knowledge of the research field. Conversely, experts strategically employ citations to support their claims and establish intertextual links. The differences in citation choices between master's theses and research articles might be attributed to the L2 students' limited grasp of the subtle nuances associated with citation forms, reporting verbs, verb tenses and voices, as well as a lack of proficiency in employing various pragmatic and rhetorical functions achievable through citation. Additionally, these differences may be attributed to the comprehensive knowledge and experience accumulated by expert writers over time. The implications of these findings for teaching English academic writing are discussed within the paper.

Character in the Adapted Series “Miss Fisher’s Murder Mysteries”: Playing with Tradition

The Australian TV-series “Miss Fisher’s Murder Mysteries” follows a trend that has emerged in mystery film genre over the last few decades. On the one hand, it is an old story about a private detective; on the other – a new narrative, that fascinates the viewer with an extraordinary setting. This effect is provided by the intertextual links that the series forms with the texts of its surroundings. This article examines how various intertextual elements form the image of the “Roaring Twenties”, linking the cinema text with the ‘classic detective’, while at the same time referring to modern cinema. These challenges are reconciled through the image of the main character. The ironic play with the familiar texts produces a light atmosphere of the series, and the references to the fashion and art of the 1920s construct the illusion of the “reality” of Miss Fisher, who finds her own place in the canon owing to the connections with the world of a detective story

Blessings on the Waves: Miraculous Encounters of Japanese Pilgrim Monks during Sea Voyages Transmitting Dharma from Southern Song China

The maritime route connecting the Chinese continent and the Japanese archipelago facilitated a significant exchange of commercial goods and sociocultural knowledge throughout the Southern Song dynasty. Within this context, Japanese pilgrim monks traveling along this route acted as key conduits for the transmission of Buddhist teachings. Their journeys profoundly influenced the establishment and development of new Buddhist monasteries in Japan. Focusing on biographical accounts that portray the experiences of these pilgrim monks during their twelfth- and thirteenth-century sea voyages, this paper aims to explore how these accounts drew on intertextual links with existing Buddhist records to fulfill the compilers’ intentions. Specifically, this paper examines the structure and sources of biographical accounts detailing miraculous encounters between pilgrim monks and Buddhist deities during perilous situations at sea. By interpreting the role of these deities in the corpus of Buddhist literature and within Japanese Buddhist monasteries founded by pilgrim monks, this paper argues that the increasing emphasis on pilgrim monks’ attainment of divine protection in their biographical records suggests a growing concern for reinforcing the authority of their dharma lineages. Moreover, the composition and reception of these miraculous accounts reflected the changing religious needs and reshaped strategies for promoting specific Buddhist sects in subsequent periods.

Жорж Перек и «новый роман»: поля пересечений и расхождений с творчеством Алена Роб-Грийе

The article examines intertextual links between the works of the French writers Georges Perec and Alain Robbe-Grillet. Not only early texts by Perec but also further ones in form and content refer to the artistic discoveries and inventions of the representatives of Nouveau Roman. In the modern history of French literature, Perec usually appears as an antipode of the Nouveau Roman approach to writing; nevertheless, it is relevant to see and analyze the places of these discrepancies to understand better the specifics and creativity of Perec and the characteristics of the representatives of the Nouveau Roman. The study focuses on early texts (Les Choses, Un homme qui dort), which reveal direct links with the poetics of the nouveau roman, Alain Robbe-Grillet in particular, and on later ones (La Disparition). The article concludes with the significance of the typological links between Nouveau Roman and Perec’s early work, as well as their significant dissimilarity, which consists of subsequent authorial aspirations and attitudes towards style and writing ideas.

O NEKIM POETIČKIM OSOBINAMA PROZE VESNE KAPOR U DJELU „NEBO, TAKO DUBOKO“

Vesna Kapor’s Nebo, tako duboko reactualises the concept of the lyrical novel. Epistolary form of the novel made it possible to intertwine poetic and narrative features. Emphasising the relation to death, which is closely related to the motif of time, serves as a leitmotif that contributes to connecting all segments of the novel into a unique artistic creation. Apart from both implicit and explicit connection with Crnjanski, there is a crucial intertextual link with Andrić’s concept of storytelling, as well as with the fenom- enon of the relationship between artists and their works, and the purpose of art.

Exploring Nuances in American Republican Discourse: A SFL-driven Basic Content Analysis of G. Bush and D. Trump as Case Studies

This exploratory study uses a Functional-Semantic approach to language with the aim to foreground the contrasting ideological, discursive, thematic and political discourse features that mark D. Trump and George Bush's nationalistic discourse. Using a Nvivo12-facilitated CDA-oriented Basic Content Analysis (BCA), I examine 5 purposively sampled public addresses delivered by George W. Bush and Donald Trump (5 for each case) during their respective presidencies. The key findings of this lexicometric analysis disclosed subtle variations and significant intertextual connections in these two nationalistic discourse genre chains. Both discourse makers deployed certain socio-cognitive elements consistent with their discursive purposes and addressee mental models. George Bush’s sample attests to a ‘conservative Jeffersonian internationalist discourse’ that is marked by a call for Americans to think of themselves as one people, whose members are equal, rather than being in conflict with an out-group America-internally. Indeed, Donald Trump's discourse subscribes to hardline Jacksonian stream, introducing an ideological and political nationalism, characterized by heightened polarization, conspiracy theories and group essentialization. This research has broader implications for political communication, informing discussions on how language shapes political ideologies and societies. The revealed intertextual links support previous research on the intertextuality and ideological encoding of nationalistic narratives in American political discourse.

“Residual Meanings” and the Aesthetic of Intermediality in Pavel Saltzman’s Central Asia in the Middle Ages

This article analyses Central Asia in the Middle Ages, an unfinished novel by Pavel Saltzman (1939–1950), first published in 2018. In the novel, the aesthetic of film editing and the discursive “madeness” of the narrative used by the author, which refers both to the literature of German Romanticism and to Eastern historical and literary sources, transforms an example of artistic avant-garde into a fundamentally new work in terms of artistic features. According to the article, the literary game of the Gothic novel employed by the author gives Saltzman’s text the dynamics of a spectacular film text, which conceals several symbolic and associative meanings. These include the adventurous narrative itself, the medieval historical plot, the inevitable associative parallels with the tragic pages of the history of the twentieth century, and the philosophical and aesthetic comprehension of man and their place in the world in the spirit of the German Romantics and modern postmodernism simultaneously. The research methods in relation to this literary text rely on the semiotic theory of Yu. M. Lotman and B. A. Uspensky. The results of the study are determined both by the author’s approach and modern literary and cultural studies concepts of Aage A. Hanzen-Löve, I. S. Kukui, and O. D. Burenina-Petrova. The novel is analysed for the first time according to the directions of “residual” memory of the author’s text that are relevant to this work, primarily in intertextual connection with E. T. A. Hoffmann’s The Devil’s Elixirs, as well as according to the cinematic ways of expressing the narrative. The author proves that Saltzman’s text relies on the principle of compositional film editing, which brings it into the sociocultural discursive practice. Additionally, the article traces intertextual links between the two novels in the plot and thematic aspects, concluding that the text is original for modern literature and determining the prospects of its transfer in sociocultural practice.

'Enter the Memory': Interactivity, Authorship, and the Empowered Spectator in the Digital Audio-Visual Essays of Chris Marker

This article theorizes the cinematic essay as a fluid, self-reflexive form which addresses the spectator directly in order to engage them in an intellectual process of dialogical exchange. Because it encourages the active involvement of the viewer in the determination of essayistic meaning, the cinematic essay challenges traditional models of authorship. Asopposed to relaying information to a passive viewer from a position of authority and omniscience, the cinematic essayist offers tentative thoughts and ruminations which the spectator is called upon to critically think through and use as the foundation for their own essayistic reflections. The evolution of digital filmmaking technologies over the past few decades has opened new creative avenues through which cinematic essayists may construct interactive viewing situations andtreat the spectator as an empowered co-creator of artistic meaning. Thisarticle focuses on two of Chris Marker’s late-period worksto examine the relationship between dialogical exchange, interactive spectatorship,and the capabilities of the digital database: Immemory (1997)and Ouvroir (2012). In these works, Marker carries overhis career-long impulse towards dialogism to the realm of the digitized database, composingintricate, intermedial constellations of archival materials which theviewer may peruse in whatever order they please. Rejecting the fixed sequential ordering of causal film editing, as well as the strict classificatory systems of chronological archiving, Marker embraces new media to enable the spectator to traverse historical time through a dynamic, rhizomatic structure which fosters the forging of dynamic and individualized intertextual linkages. 

An analysis of the Vodolazkin’s novel "The Aviator" in senior high school

The study of the semiotic space of literature still remains interesting and in demand, and the semiotic analysis has proved to be a rather successful method in the collection of methods of a literature teacher at school. In the article, the author proceeds from the necessity of using a complex analysis of a fiction text based to a greater extent on semiotic consideration, which includes, in addition to semiotic analysis, analysis of biographical context and partly philological analysis, in senior high schools. The author substantiates the necessity of introducing such a method in the study of modern literature, showing it on the example of complex analysis of the Evgeny Vodolazhkin’s novel "The Aviator". Thus, the aim of the study is to describe the application of the method of semiotic analysis (in combination with others) of works of fiction in the course of literature in senior high school. The relevance of the chosen topic in the novelty of the researched material: the text of the novel. Modern literature still needs a comprehensive study. The novelty of the article consists in the chosen approach to the analysis of the novel with the use of semiotic arsenal of means, as well as in the description of the application of the novel's material in the curriculum at the lessons of literature in senior high school. Using the methods of semiotic, philological and contextual analyses, the author developed a literature lesson plan for the 11th grade of a comprehensive school. This plan can be used in practice, which will allow a teacher supplement and expand the school study of modern literature by a popular new author. As a result of the analysis, it was concluded that this kind of complex analysis of modern fiction can reveal lines of interconnection and continuity with classical literature. Finding such intertextual links with both Russian classical and world literature will allow students to build a logical and coherent picture of the development of the literary process up to the modern stage. As a result of the analysis, the conclusion is made about didactic applicability of the text of the novel in the practice of teaching literature, and the novel itself is presented within the framework of the analysis as a rather complex and rich artistic work in terms of meaning, involving numerous interpretations.

Popular geopolitics of ‘nuclear India’: tracing the evolution of India’s ‘regional’ and ‘global’ identities in the English daily The Hindu from 2011–2020

ABSTRACT Conventional wisdom on India’s nuclear geopolitics takes a top-down approach, foregrounding state perceptions of India’s nuclear role in regional and global politics. This conventional approach overlooks the bottom-up processes, such as media representations, which have been fundamental in shaping India’s nuclear identity. This is because media representations comprise common-sense knowledge, since media is the primary source of information in a democracy. Building on theoretical underpinnings of popular geopolitics, this article focuses on analyses of media representations in the Editorial of the English daily The Hindu from 2011–2020. This national newspaper boasts the second-largest readership among English dailies. The direct link between The Hindu Editorial’s representations of ‘nuclear India’ and India’s ‘regional’ and ‘global’ selfhood is crucial. The concerned period of 2011–2020 was pivotal in charting Indian geopolitical identity, as India partook in international negotiations after the US-India Nuclear Deal in 2008 and became a member of multilateral export control regimes like the Wassenaar Arrangement, Australia Group, and Missile Technology Control Regime. This article deconstructs the Editorial texts to elicit the intertextual links underpinning the ‘geopolitical cultural signifier’, ‘geospatial mythology’, and ‘self/other’ binary representation that operationalises India’s nuclear identity in regional and global settings.

We Speak the Truth: Rhetoric, Epistemology, and Audience Participation in John 3:1–21

This article explores the conversation between Jesus and Nicodemus in John 3:1–21, highlighting the ways omissions, multivalency, and intratextual and intertextual links invite audience participation and encourage listeners to see themselves as re-generated children of God. In this way, persuaded audiences assent not just to the content of the Gospel, but to its epistemology—how it instructs them to receive and seek truth. As classical and contemporary rhetorical theories indicate, when audiences participate to create the world of the Gospel, they are more likely to be persuaded by it and to use it to craft the reality in which they live.

К вопросу об интертекстуальных связях отечественной феноменологической традиции и философии всеединства в романе Б. Пастернака «Доктор Живаго»

The article shows how the peculiarities of the development of the Christian theme in Doctor Zhivago were predetermined not only by the author’s personality, but also by the philosophical and theological searches of the first third of the 20th century — the philosophy of the unity of S.N. Bulgakov, the phenomenological school of E. Husserl in the transmission of G. Shpet, as well as the domestic phenomenological tradition analyzed by S.L. Frank. In this regard, for the first time, we have attempted to compare the phenomenological image in Christian hymnography with the artistic image of the novel, which tried to capture the Divine in the earthly, which made it possible to identify the uniqueness of the phenomenological image in the work. The unity of man with the world and the Creator — this theme defines the range of thoughts of the author and his protagonist and corresponds to one of the main provisions of the “Philosophy of Economy” S.N. Bulgakov on the identity of subject and object, which determines the presence of intertextual links between the “Philosophy of Economy” and the text of the novel. A special Christian phenomenology, which creates a certain image of the world, is closely connected with the philosophy of unity. Thus, earthly life appears spiritualized by the Divine presence and, in a certain sense, becomes a phenomenon of the noumenal essence. The article shows that Pasternak’s comprehension of spiritual reality has its own distinctive features. In this regard, the article reveals similarities and differences between the spiritual texts of modern Pasternak — the Akathist of Mitr. Trifon (Turkestanov) “Thank God for everything!” and the text of the novel. Thus, if the Russian phenomenological tradition represented in the akathist, according to S.L. Frank, is characterized by a combination of “the immanent presence of the Divine principle <…> with a keen sense of transcendence”, then in the image of Pasternak, striving to capture the divine in the material, there is an immanent, soul-sensual comprehension of spiritual reality, the ideal domain of meanings becomes immanent to the earthly dimensions, the phenomenological image, sometimes, ceases to denote the noumenal essence. This development of the Christian theme in the novel, in particular, is associated with a sense of equality between man and God, but not with the hierarchy of the world, which is consonant with the general type of worldview of the beginning 20th century.

‘The consonance of concepts’ <i>bormochet</i> [mumbles] - <i>prorochit</i> [prophesies] in V. Nabokov’s <i>The Gift</i> [Dar

The article sets out to reveal intertextual connections between Nabokov’s novel The Gift [Dar] and the theoretical and literary legacy of Russian futurism perceived through Heavy Lyre [Tyazhyolaya lira], a collection of verse by V. Khodasevich. To do so, the author attempts to demonstrate the implementation of the method called ‘the consonance of concepts’ in The Gift, with the example of the concepts bormochet [mumbles] — prorochit [prophesies], establish their intertextual links to Heavy Lyre, and define the constructive role of ‘the consonance of concepts’ in Nabokov’s works. The extract from the novel that proves crucial for the article’s objective describes F. Godunov-Cherdyntsev’s encounter with a blind beggar, who asks him for money. The extract reveals a reminiscence of the Futurist method of ‘the consonance of concepts’ with the example of the consonant words bos [barefoot] — bog [god], which, in turn, help to decipher the semantic implications of the bormochet — prorochit motifs. V. Cherkasov also identifies the method’s literary and critical functions: pointing to its constructive nature in Khodasevich’s Heavy Lyre, Nabokov reveals the book’s modernist origins.

Exploring hidden curriculum in responsible management education: A narrative inquiry of students' lived experience in management and leadership training programmes

The purpose of this article is to reflect on responsible management education by exploring possible disjunctions between formal and Hidden Curricula in a Business and Management Faculty in Northern Uganda. Using the United Nations (UN) initiated Principles of Responsible Management Education (PRME) as point of departure, we explore intertextual links between the PRME document and two formal master's degree curricula. To unpack Hidden Curricula, we analyse narratives by master's degree students in their final year of study. For this purpose, we apply narrative analysis combined with corpus-assisted genre analysis to identity frequently occurring themes. Our data consists of three documents (PRME, MBA and MPA curricula) and narrative essays from 10 students.While the keywords ‘ethical’, ‘sustainable’ and ‘responsible management’ were salient in the PRME document, themes such as ‘management’, ‘leadership’ and ‘business’ turned out to be more prominent in the formal Master's degree curricula, thus indicating some intertextuality. However, the intertextual relationship between the students' narratives and the PRME was weak.Based on our findings we argue a need for strengthening business and management education along the lines of PRME by paying more attention to the Hidden Curriculum for building ethical, sustainable and responsible competencies.

Intertextuality in Young Adult Literature: A Study of Girl Online by Zoe Sugg

This article explores how intertextuality works in Young Adult literature, a key cultural trend of the 21st century. It focuses on Zoe Sugg’s novel Girl Online, a popular and representative example of this genre among young readers. The authors of the research aim to examine the features of intertextuality in this novel: they identify and describe the references to other texts and interpret the novel in relation to the cultural heritage of the past and the present. Using intertextual and contextual methods of analysis, they conclude that the novel’s potential reader is expected to “recognize” certain texts that are symbolic, “cult” or appealing to young people, and that are used as effective tools for creating a story that follows the parameters of mass culture. This also leads to a hypothesis that some types of texts, related to specific traditions and sources, are more dominant than others in the novel’s intertextuality. The study reveals that the novel Girl Online draws on, firstly, the literature of the past (well-known works of English classics that have a “cult” status); secondly, fairy tales; thirdly, products of contemporary, mostly youth, culture (other Young Adult texts, movies, cartoons, etc.); and finally, established narrative techniques that belong to various genres and are not bound by a specific time or place and that are updated by the author. These intertextual links make the novel successful.