Intertextual Allusions Research Articles

Virgo to Virago: Medea in the Silver Age

Virgo to Virago: Medea in the Silver Age

Policy and creative strategies: Hong Kong CEPA films in the China market

This article examines the creative strategies of Hong Kong Closer Economic Partnership Arrangement (CEPA) films in engagements with the China market under the framework of CEPA introduced in 2004. One of the aims of CEPA for the film sector is to boost co-production between Hong Kong and the mainland. In the past 10 years, CEPA has dramatically changed Hong Kong cinema’s relationship with China in that major film directors have moved to produce CEPA films to tap into the rapidly growing mainland market. This shift has been considered as part of HKSAR’s overall mainlandization and subsequent disappearance of a distinct local identity. This article revisits this view by presenting two case studies to see if indeed Hong Kong CEPA pictures are devoid of Hong Kong elements. The case studies analyze textual elements of two CEPA blockbuster films, The Mermaid (dir. Stephen Chow, 2016) and The Taking of Tiger Mountain 3D (dir. Tsui Hark, 2014). Citing the intertextual allusions to the directors’ old works seen in these two films, the authors argue that the market advantage granted by the CEPA scheme in effect allowed Hong Kong filmmakers to revive and extend signature creative strategies of Hong Kong cinema, despite censorship constraints.

‘A Saxon who's learnt a lot from the Americans’: Clemens Meyer in a Transnational Literary Context

In recent years, Clemens Meyer has emerged as the literary voice of societal underdogs. Initially celebrated as the ‘tattoo-man of German literature’ (Elmar Krekeler) whose ‘rough’ East German background seemed to have certified the authenticity of his subject, with his growing success, Meyer has managed to shake off the exclusive, and somewhat limiting, label of ‘East German writer’ with its often specifically provincial associations. The publication of his latest novel Im Stein (2013), which, translated as Bricks and Mortar (2016), was longlisted for the Man Booker International Prize in 2017, has finally led to Meyer's recognition as a more highbrow writer whose work has entered the transnational literary field. In his novel, Meyer self-consciously references world literary predecessors who have inspired him (for example Dos Passos and Hemingway) but adapts these literary models to develop a singular style that goes beyond mere intertextual allusions. My reading of Im Stein, a multi-voiced novel that revolves around organized prostitution in an unnamed East German city post-1989, thus ties in with recent debates focussing on the notion of ‘world literature’. Following Gayatri Chakravorty Spivak's thoughts on ‘singularity’ in relation to world literature, I argue that it is precisely Meyer's engagement with the specificity of his subject matter through writing ‘transnationally’ that allows the author to achieve ‘singularity’. This then paves the way for his work's ‘universalizability’ and, consequently, for Meyer's conscious adaptation of his work to world literature.

Four Flows theory and materiality: ISIL’s use of material resources in its communicative constitution

ABSTRACTThis paper extends Four Flows theory by showing how its agency-related assumptions can explain the role played by materials in the communicative constitution of organizations (CCO). Analysis of Dabiq – the propaganda periodical of ISIL (Islamic State of Iraq and the Levant) – illustrates how members of the complex organization engaged in activity coordination to position the organization through communication strategies such as instantiation, cooptation, and intertextual allusions. These institutional positioning strategies are themselves partially material, and we show how they function together with still other material resources as part-whole appeals in which the material part is projected to represent the whole of the organization’s image and meaning across time and space. Each part-whole appeal is predicated on how the organization attributes meaning to its material resources. Implications for CCO theory are included.

Commerce, Civic Education, and Romantic Drama: Stage Illusion in Coleridge’s Remorse

Commerce, Civic Education, and Romantic Drama: Stage Illusion in Coleridge’s Remorse Ellen Malenas Ledoux (bio) In october 1797 samuel taylor coleridge wrote to his friend Thomas Poole about how his childhood reading shaped his understanding of the imagination and the limits of empiricism. Coleridge recounts that when his father first explained the physics of the cosmos, young Coleridge was hardly surprised: For from my early reading of Faery Tales, & Genii &c &c—my mind had been habituated to the Vast—& I never regarded my senses in any way as the criteria of my belief…. Should children be permitted to read Romance, & Relations of Giants & Magicians, & Genii? … I have formed my faith in the affirmative.—I know no other way of giving the mind a love of “the Great”, & “the Whole”.—Those who have been led to the same truths step by step thro’ the constant testimony of their senses, seem to me to want a sense which I possess—… and the Universe to them is but a mass of little things…. when they looked at great things, all became a blank & they saw nothing … & called the want of imagination Judgment, & the never being moved to Rapture Philosophy!1 This letter, which coincides with the writing of Remorse’s first unstaged iteration (Osorio), touches on themes vital to this article’s claims about Coleridge’s staging of Remorse (Drury Lane, 1813) and how it bears on his attitudes toward the dramatic form as a vehicle for public education. Coleridge affirms that those who rely solely on sensory observation perceive an aggregation of small data points and miss the greater meaning of our sublime universe. These ideas are not unique to Coleridge; other Romantic aesthetic productions, most notably William Blake’s contemporaneous [End Page 557] painting Newton (1795/c.1805), illustrate how intellectually constrictive over-reliance on material observation can be. What interests me here is Coleridge’s suggestion that exposure to fantastical literature prompts and sustains understanding of “the Vast,” because it demonstrates how ostensibly humble genres—the romance, the fairy tale—can expand one’s imaginative and cognitive capacity. The letter suggests, by extension, that this knowledge remains accessible to the marginalized groups who typically consume popular literature: children, women, and the working class.2 During the Romantic Era, the Gothic and Orientalist spectacles often staged at the patent theaters (Drury Lane, Covent Garden, and summer Haymarket) served a similar function to the types of tales Coleridge describes. To be fair, some of these spectacle-driven performances are rather silly, but even the silliest of them, for example The Quadrupeds of Quedlinburgh (Haymarket 1811), are self-conscious and smart as theatrical parodies. Yet a subset of these plays employing spectacle, including Remorse, have a further reach, providing a broad popular audience not only with entertainment, but also with opportunities to contemplate the metaphysical—that “Great” or “Whole” that Coleridge suggests challenges the reader/viewer to think beyond the narrow confines of empirical perception and to gain synthetic knowledge. Elsewhere, I have argued that these plays have important political content; here, I hope to demonstrate that Gothic drama can also raise important philosophical questions to a mass audience.3 My understanding of this form as elevated—as a vehicle for philosophical education—runs outside of prevailing critical wisdom about drama’s place in the Romantic literary hierarchy. It also builds upon foundational work by Jeffrey Cox, Frederick Burwick, Julie Carlson, Jane Moody, Michael Gamer, and others, that asserts drama’s centrality to Romantic-era culture.4 As these scholars have demonstrated starting in the late 1980s, drama has [End Page 558] been marginalized in Romantic Studies partly from an overemphasis on textual, rather than performative, analysis. For example, in a recent article on the harlequinade, Cox succinctly outlines the alternative method needed to discern a play’s cultural impact. He argues that much of nineteenth-century drama can only be understood when performance texts are examined in conjunction with their other forms of meaning making, such as music, stage action, costumes, and sets. Further, one must broaden this context beyond the playhouse, using a play’s paratexts, intertextual allusions, and reference to current events as clues to gauge a...

Alexander the Great, the Disguised Dinner Guest

The Alexander Romance depicts Alexander going alone to the court of Darius disguised as his own messenger, dining with the Persians and advancing his own reputation as a munificent king. This episode substitutes a fictional scene for a number of dramatic banqueting incidents in the historical record that cast Alexander in a negative light, specifically, the burning of Persepolis, the proskynesis affair, and the wedding at Susa, which are all banqueting scenes concerned with Alexander’s generosity, reputation, and relations with the Persians. It is also an opportunity for intertextual allusion, especially to Homer and Herodotus. It is, further, only one of many occasions in the Romance when Alexander is said to go alone to visit his enemies in disguise; these episodes integrate the composition and evince a concern with the treatment of ambassadors. It is finally one of the only instances of the explicit characterization of Alexander in the Romance.

Looking for Othello’s pearl in Gail Jones’s Sorry (2007): Symbolic and intertextual questioning of the notion of “settler envy”

The turn of the century has witnessed a proliferation of the publication of the so-called “sorry novels”, “fictions of reconciliation” and “saying sorry texts” in the Australian literary context. In contrast to the arguments which define these texts as plausible examples of “settler envy”, this article highlights their dissenting and reconciling power in Gail Jones’s Sorry (2007) by offering an in-depth analysis and discussion of the meaning and function of the intertextual allusions to Shakespeare’s Othello and the use of symbols in the novel.

Metaphors of Postmodernism in Neo-Victorian Fiction: “The Trial of Elizabeth Cree” by Peter Ackroyd and “The Decorator” by Boris Akunin

<p>One of the features that characterizes postmodern fiction is an intense interest in the past, and especially so – in Victorian period, chiefly in its sensational aspects. Therefore we witness a revival of Victorian crime novel and this tendency can be traced not only in recent English literature, but in other literatures as well, Russian in particular. This gave birth to the term “neo-Victorian novel”, referring to the pieces, which recreate the atmosphere of the period, introduce a lot of intertextual allusions and references to the well-known Victorian novels and exploit most popular subjects of the 19th century literature. However as we will argue in this essay the authors often use these plots as implicit metaphors of postmodern art as such. It will be demonstrated on the example of two Neo-Victorian novels – “The Trial of Elizabeth Cree” by Peter Ackroyd (1995) and “The Decorator” by Boris Akunin; for the latter Ackroyd’s novel can be also regarded as one of the precedent texts. Both novels give their versions of the story of <em>Jack the Ripper</em> but what is more important in our case – employ akin plot structures, images and artistic devices, which in fact become metaphoric actualization of postmodern techniques.</p>

Review: Juvencus’ Four Books of the Gospels: Evangeliorum Libri Quattuor, by Scott McGill

Book Review| December 01 2017 Review: Juvencus’ Four Books of the Gospels: Evangeliorum Libri Quattuor, by Scott McGill Scott McGill, Juvencus’ Four Books of the Gospels: Evangeliorum Libri Quattuor. New York: Routledge, 2016. 308 pp. ISBN 9780415635837. $125.00. Blossom Stefaniw Blossom Stefaniw University of Halle Search for other works by this author on: This Site PubMed Google Scholar Studies in Late Antiquity (2017) 1 (4): 407–409. https://doi.org/10.1525/sla.2017.1.4.407 Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Share Icon Share Facebook Twitter LinkedIn MailTo Tools Icon Tools Get Permissions Cite Icon Cite Search Site Citation Blossom Stefaniw; Review: Juvencus’ Four Books of the Gospels: Evangeliorum Libri Quattuor, by Scott McGill. Studies in Late Antiquity 1 December 2017; 1 (4): 407–409. doi: https://doi.org/10.1525/sla.2017.1.4.407 Download citation file: Ris (Zotero) Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search All ContentStudies in Late Antiquity Search Scott McGill has made available in English translation the first of the Latin biblical epics and the first known hexameter poem dedicated to Christian subject matter. With the publication of this volume, the entire poem is accessible in a modern European language for the first time. This is a great feat for the integration of a significant text to the teaching and study of early Christianity, quite apart from the linguistic heroism required to translate more than 3000 lines of dactylic hexameter into very respectable English verse. The book itself is straightforward, consisting of a roughly 20-page introduction and very copious and valuable notes that give details of intertextual allusions, clarifications of references to the gospel stories, and literary commentary. The text of the poem is correlated in the right hand margin with the passages from the canonical gospels to which it refers. The poem itself takes up 78 print... You do not currently have access to this content.

First Isaiah: A Commentary. By J. J. M. Roberts. Edited by Peter Machinist

New volumes in the Hermeneia series of biblical commentaries represent significant contributions to biblical scholarship and this volume is certainly no exception, being the fruit of almost 40 years of research. The subject is chapters 1–39 of the book of Isaiah, here labelled comprehensively as First Isaiah. Isaiah’s prophecies of a messianic ruler in Jewish and Christian history bring special interest to it, since the Hermeneia series is non-confessional in its religious affiliations. At one period Isaiah’s 66 chapters were separated chronologically and allocated to three different authors. More recent criticism has dismissed this as too simplistic and drawn attention to evidence of intertextual allusions and citations that appear across the whole book, linking the parts together. By dividing the book into two parts (chapters 1–39 and 40–66) Roberts begins with a basic critical conclusion which is characteristic of his moderate conservative approach throughout. Only chapters 1–39 belong to First Isaiah. Within these chapters some prophecies originated after the prophet’s death, but their inclusion is justified by ascribing them to the ‘Isaiah Tradition’, which drew heavily on the royal ‘Zion Tradition’ of Jerusalem and the work of the prophet’s disciples. The destiny of the city and its royal dynasty form a connecting theme throughout the prophecies and explain why further prophecies relating to this dynasty and city were later added to the book. Roberts’s basic thesis is clear: chapters 1–39 are a coherent literary work; the prophet Isaiah was the primary source, and the fate of the city and its kings under Assyrian domination brought further related situations which link its parts together. Isaiah 1 is the introduction and chapters 36–9 reporting the events of 701 bce are its conclusion. The prophecies overall relate to events from Assyria’s intervention with the death of the ailing King Uzziah up to Babylonian supersession of Assyrian control in the sixth century. Roberts defends dates within this time period for almost all the prophecies, even those, like the proto-apocalyptic chapters 24–7, which most critics would place later. Final additions and editing of the collection are ascribed to a time close to that of the prophecies of Ezekiel. Both from a historical and literary perspective therefore, First Isaiah is regarded as a coherent unity. It has a recognizable political background, an underlying concern with the fate of Jerusalem’s royal house, and ends with a changed perspective brought about by the intervention of Babylon. Hezekiah’s unexpected survival on the throne in 701 bce, albeit as a vassal of Assyria, is a pivotal event explaining the interpretation as providential deliverance. Future hope is tempered by submission to the ultimate mystery of divine sovereignty (Isaiah 39). Compared with most recent work (e.g. M. A. Sweeney, R. G. Kratz,) the commentary is conservative in its historical and literary conclusions, reflected in the early dates ascribed to the prophecies.

Belle, Marie-Alice, and Line Cottegnies, eds. Robert Garnier in Elizabethan England: Mary Sidney Herbert’s Antonius and Thomas Kyd’s Cornelia

This volume gathers together for the first time Mary Sidney Herbert’s Antonius (1592) and Thomas Kyd’s Cornelia (1594), two significant and inter-related responses to Robert Garnier’s Roman plays, Marc Antoine (1578) and Cornelie (1574). As a unique diptych the translated plays offer invaluable insight into the often ghostly presence of French literature in Elizabethan culture. They also mark an important chapter in the development of early modern neoclassical drama, with Sidney Herbert and Kyd creatively engaging, each in their own way, with Garnier’s learned, Senecan tragedies. This edition offers a critical introduction situating the plays in the rapidly shifting context of the 1590s and discussing their critical reception as translations. The footnotes aim to illuminate Sidney Herbert’s and Kyd’s distinctive translation practices by signaling significant amendments to Garnier’s text and by tracing the web of intertextual allusions that connects each translation, not only with Elizabethan practices of patronage, readership, and text circulation, but also with the wider intellectual and political debates of the late European Renaissance. Also featuring textual notes, a list of neologisms, and a glossary, this edition documents each text’s material and editorial history, as well as their joint contribution to the linguistic creativity of the Elizabethan age.

Intertextuality and/in political jokes

The aim of the present study is to explore the interplay between intertextuality and humor in contemporary political jokes. The intertextual allusions included in such texts involve (con)texts projected as ‘shared’ knowledge by joke tellers. However, they may render joke comprehension a demanding task, thus excluding potential joke recipients from the ingroup joke tellers attempt to construct. At the same time, the intertextual presuppositions of political jokes may foster the ideological alignment between joke tellers and joke recipients, as they are based on specific evaluations of sociopolitical affairs, which need to be accepted by recipients wishing to establish coherence. The data examined here comes from a large corpus of the Greek jokes on the current financial crisis.

Constructing filmic intersubjectivity through haptic visuality and poetic language in Sally Potter’s Yes (2004)

This article analyses Sally Potter’s use of cinematic techniques (haptic visuality) and literary resources (poetic language, theatrical strategies and intertextual allusions) in Yes (2004) as a means to explore female subjectivity and the empowering potential of intersubjectivity in the cinematic medium. The analysis offers a feminist reading of subjectivity as a narrative and spectatorial construct. Kaja Silverman’s psychoanalytical semiotics, Vivian Sobchack’s feminist phenomenological take on cinematic experience and Julia Kristeva’s sujet en procès and revolutionary poetic language provide the theoretical background for a close reading of Sally Potter’s film distinguished by a knowing, transmedial reaffirmation of third-wave, intersectional feminist theory, as well as modernist literary intertexts, particularly James Joyce’s Ulysses.

‘The Poet Slanders’: Stevie Smith’s War Poetry

War poetry is commonly understood as combat poetry from a male witness. This article examines the poet Stevie Smith and her authoritative witness of the Second World War, from a female, non-combatant perspective. It begins by outlining critical responses to Second World War poetry, before offering detailed analysis of selected Smith works alongside their critical reception, and parsing Smith’s subversive tactics with reference to socio-historical as well as literary context. By analysing a handful of her poems in close readings, it becomes clear that Smith used a number of poetic devices to expose the artifice of literary responses to war. Smith's use of euphemism, rhyme schemes, illustrations, poetic self-reflexivity, and intertextual allusions to propaganda and poetry, affirms the importance and innovation of her voice in questioning the codification of ‘war poetry'. She slips between subjectivities, voices, and perceptions to emphasize and bourgeon her poetic self-fashioning. Her language is purposefully variable, ambivalent, sometimes contradictory, seeking always to undermine the concept of a single authoritative response to war.

Erityinen paikallisuus, yhteinen tulevaisuus

Special Locality, Mutual Future. Ethnofuturism in Contemporary Finnish Poetry
 In this article I study three contemporary Finnish collections of poetry; Jyrki Heikkinen ́s Pois voihke ja valitus! (2004), Johanna Venho ́s Yhtä juhlaa (2006) and Ville Hytönen ́s Karsikkopuu (2011), by focusing on such features that can be interpreted as ethnofuturistic. ese features include, for instance, the use of intertextual allusions to lyric or epic folk poetry and the use of archaic words and historical cultural meanings as a part of new poetry, hence the intention to oppose ethnopraeterism. Proximity to the forests, nature and their inhabitants, as well as their mythologies seem to be a mutual feature of Finnish poetry inspired by ethnofuturism. There is also a strong link to the Finno-Ugric language family which makes the poetry both culturally and geographically transnational.
 Ethnofuturistic readings of poetry allow the reader to realize the uniqueness of the language that has developed in this environment through several centuries and also how it has created various ways to express one ́s experiences of life. Ethnofuturistic readings of poetry can also pass on knowledge of the relationship between man and nature that modern people seem to have lost. This is crucial in the attempts to find ecologically sustainable forms of living. In the ethnofuturistic context the term ‘national’ does not mean nationalism but locality, which seems to emphasize cultural diversity and the fusion of local and global. Further research is needed in order to examine whether ethnofuturistic art could supply the means to understand or redefine the entire concept of nationhood.
 Keywords: ethnofuturism, contemporary Finnish poetry, folk-poetry

Intertextual Sociability in Victorian Lives of the Romantic Poets: Thomas De Quincey’s ‘Lake Reminiscences’ and Edward John Trelawny’s Recollections of the Last Days of Shelley and Byron

ABSTRACTThis essay explores the ways in which literary biographers have made intertextual allusions to the work of their subjects as a means of reconstituting lost personal and creative relationships. Thomas De Quincey’s ‘Lake Reminiscences’ (1839) and Edward Trelawny’s Recollections of the Last Days of Shelley and Byron (1858; revised 1878), were auto/biographical accounts of time spent amongst Romantic literary friendship circles. Building on recent approaches to Romantic sociability within these groups, I argue that the quotations from the poetry of Wordsworth, Shelley and Byron in the ‘Reminiscences’ and Recollections show De Quincey and Trelawny extending and reconfiguring the collaborative, allusive practices of the Lake poets and the Pisan circle. However, unlike the poets they memorialised, De Quincey and Trelawny were importing poetic quotations into prose auto/biographies aimed at a mass early- to mid-Victorian readership, in an age of literary celebrity. In distinctive ways, their languages of allusion created relationships between biographer, subjects and audience, whose desire for participation in the literary circle was modelled by the biographers themselves. Rather than seeing intertextuality as an impersonal or appropriative mode, I suggest in this essay that literary memoirs deploy it as a means of sociability, writing the lives of biographers, subjects and readers together in tissues of quotation.

Der Homo-Mensura-Satz des Protagoras

The paper presents a subjectivist interpretation of Protagoras’ man-measure fragment, by explaining some key terms (‘all things’, ‘measure’, ‘man’) and reconstructing his ontological, epistemological and anthropological views. The argument uses other fragments and testimonies of Protagoras as well as intertextual allusions to previous authors (especially Anaxagoras) and instances of reception of Protagoras by Plato, Aristotle and Isocrates which are particularly used here for the first time in order to interpret the man-measure fragment. It is argued that Protagoras denied metaphysical speculation and preferred human knowledge based on subjective perception and made plausible by intersubjective discourse.

“I don’t know who I am most of the time”: Constructed Identity in Todd Haynes’ 'I’m Not There'

I'm Not There presents a radical departure from the traditional biopic. Rather than focusing on individual agency as a conduit of history, I'm Not There uses the figure of Bob Dylan as a conduit for identity per se. I'm Not There explores the irreducibility of identity by highlighting biopic representation as a textual construct through intertextual allusion, quotation, and pastiche.

Damasus of Rome, The Epigraphic Poetry: Introduction, Texts, Translations, and Commentary by Dennis Trout

Reviewed by: Damasus of Rome, The Epigraphic Poetry: Introduction, Texts, Translations, and Commentary by Dennis Trout Kristina Sessa Dennis Trout Damasus of Rome, The Epigraphic Poetry: Introduction, Texts, Translations, and Commentary Oxford Early Christian Texts Oxford: Oxford University Press, 2015 Pp. 229. $155.00. The popes of late antique Rome are known for many things. They delivered stentorian proclamations of episcopal authority; they built and beautified many of the city’s churches; they fought in disputed episcopal elections and hounded heretics; they even (allegedly) confronted Attila the Hun. Poetry writing, alas, does not typically make the list. Dennis Trout’s welcomed new volume, Damasus of Rome, The Epigraphic Poetry, will help correct these assumptions. As Trout shows, at least one Roman bishop, Damasus (366–384 c.e.), dedicated substantial resources and personal time to the art of poetic composition. Among other contributions, the book presents the first complete set of English translations of all sixty-seven extant Latin poems, which the bishop composed during his tenure and in most cases commissioned the renowned calligrapher Philocalus to inscribe with his unique lettering on marble slabs. The majority of Damasus’s verse inscriptions commemorate the city’s martyrs, whose cult spaces outside Rome’s walls were also a subject of interest for the bishop. Damasus is attributed with extensive renovations of these martyr shrines, and we know that he ordered his own inscribed poems—a number of which feature the bishop’s signature—to adorn the walls. The volume also spotlights Damasus’s work as a poet, underlining his innovations on forms and techniques that were popular in the fourth century, such as the heavy use of Virgilian allusion. Indeed, what distinguishes Damasus of Rome from other studies on his poetic corpus is the fact that Trout carefully situates the poetry within multiple contexts: the literary, the archaeo-logical, and the historical. In addition to bringing Damasus’s full poetic corpus to English-speaking audiences for the first time, Trout offers readers a highly readable synthesis of recent scholarship on the bishop, his literary endeavors, and the broader ecclesiastical milieu. [End Page 165] The volume opens with a detailed introduction to Damasus and the poems (discussed further below). This is followed by a “reader’s guide” to key late ancient and medieval primary sources that Trout and others use to supplement the study of the Damasan epigrams. The remainder of the volume is dedicated to the full Latin text and English translation of all Damasus’s extant poems, including several highly fragmentary verses and the few non-epigraphic. Each poem is accompanied by detailed commentary: first a line-by-line discussion of key phrases, intertextual allusions, and relevant text critical information; second, a more general discussion of the poem, its original material and historical contexts, and its afterlife as either an extant inscription (typically fragmentary and often moved elsewhere) or a textual transcription (in manuscripts known as syllogae). The Latin text largely follows the still standard edition produced by Antonio Ferrua in 1942, with emendations offered only on issues brought to light by new evidence. Trout’s new English translations are lively but adhere closely to Latin; they will undoubtedly make their way quickly into teaching syllabi. The volume concludes with several indices, including a linguistic index on important Latin expressions. The interdisciplinary nature of Damasus of Rome is arguably the book’s greatest strength. The lengthy introduction to the author and poems covers virtually every conceivable angle on the material with varying levels of detail. Trout gives due attention to Damasus’s larger martyr project and to the fractious ecclesiastical context in which he became bishop and composed the poems. He introduces readers to Philocalus and his elegant serif-accented script, and to the fascinating transmission history of the poems, many of which were copied into manuscripts by visiting pilgrims. And in a move that will please classicists, Trout addresses many technical features of Damasus’s poems, discussing at length matters such as metrical quantity (and the extent to which Damasus followed convention), Damasus’s use of caesuras and diaeresis, and his deliberate alteration between verbal repetition and innovation. Trout also enters the debate over Damasus’s alleged authorship of the...

La traduction de l'allusion intertextuelle

Based on a corpus including La Chute by Albert Camus, Le Chagrin des Belges by Hugo Claus and Une annee chez les Francais by Fouad Laroui, and their dutch translations, this contribution examines the translation or ironic intertextual allusions. First, it exposes the theoretical concepts on which the analysis is built; it follows up with a more detailed study of the nine encountered strategies: standard translation, literal translation, marked translation, non-translation, translation in a third language; explication, omission, replacement by intertextuality from the target culture and replacement by architextuality.