Intertextual Perspective Research Articles

Analysis of the Translators’ Social and Psychological Trends from the Perspective of Intertextuality

Translation is an intertextual and cross-cultural communication. It refers not only to the representation of source-text information on the perspective of intertextuality, but also a social activity which is closely linked to the mental activities of the translators. From the theory of intertextuality and translation psychology, the paper aims to study and discover translators’ social and psychological trends during the process of translating. And it also analyzes many factors that effect translators’ social and psychological changes as well as the impact on the translation process and its result that is caused by translators’ mental activities.

Virtuality as a Motif - A Comparative Study

The term reality-as originally coined by Antonin Artaud, way back in the 1930s - referred to the effect of the phantasmagorical world of the Theatre wherein characters, objects, and images figure and flit. However, currently Virtual Reality , aka Virtuality , for most of us, is a cyber-age phenomenon, something generated by technology. It is a Computer-simulated imaginary world, often displayed on a computer screen, to create a lifelike experience, as for example; videogames, simulated military exercises, therapeutic interventions, virtual classroom, etc. It is, in short, a world as generated by the electronic medium. But if we use a comparative and intertextual perspective, we could see that, besides these two obvious meanings, the term has its deep philosophical connotation too, especially in the postmodern space. 'Reality', for Postmodernists, is allegedly something never accessible to the human mind. It is, to put it in philosophical terms, a 'thing-in-itself'. What we have access to, then, is virtuality , in as much as it is generated or contaminated by our linguistic medium. But this determination is often lost on most of us, which is not our fault. We are actually misled by postmodernists who play their 'language games' with us deliberately-if subtly. This article is meant to enable us to develop a comparative/intertextual perspective, which will lead us, as in this case, to a better understanding of the mysterious working of language in literature and life. More specifically, this article will help us to see how a broader comparative perspective can enable us to cope with postmodern writings, creative or otherwise.

La subtitulación aficionada de animación japonesa: una aproximación intertextual

El presente artículo constituye una aproximación a la subtitulación aficionada de animación japonesa (saaj) desde la perspectiva de la intertextualidad. Se busca, en lo esencial, mostrar la idoneidad del marco teórico adoptado para el estudio de actividades discursivas de la compleja naturaleza de la saaj y proporcionar la base para una consideración adecuada de esta práctica en particular.

Próby z Kundery. Kilka uwag na temat figuratywności

The essay tends to illuminate a series of rhetorical operations, presented and commented in the literary works of Milan Kundera, in order to discuss their performative activity, conjoined with their important participation in the textual structure. According to the author of L’art du roman, a figure of metaphor seems to be at the forefront in the privileged realm of novel, however, its phenomenological character demands to be put in question since the aforementioned figure confronts an ironic necessity regarding the apophantic essence of writing. Thus the negative work of irony manages to destabilize the phenomenological or existential metaphor that is consequently perceived in the opposition to the ornament metaphor, which is to determine the poetic imagination. Furthermore, Kundera’s irony also results in a significant involvement of the set of subsequent rhetorical devices, and among of them an extra-ordinary event of ellipsis should be taken into consideration for it perfectly renders the idyllic desire of (a) non-presence, manifested or illustrated by the case of Agnes in Immortality. Kundera’s texts, reread in the intertextual perspective, partly indicated by the writer himself, partly revealed as the essay’s intention, establish therefore an unlimited possibility of interpretation, possibility that has to remain a sequence of attempts,streaked with the art of misreading.

Excavating Historicity in the U.S. Network Neutrality Debate: An Interpretive Perspective on Policy Change

This article offers a framework for studying the historicity of the contemporary debate about network neutrality in the United States by drawing on the theory of intertextuality. Contrary to the popular notion that the idea of “neutrality” first appeared in 2002, the article traces the term back to the 1960s when the Federal Communications Commission took up the problem of convergence or “compunications” in the Computer Inquiry proceedings. The article closes with some reflections about how an intertextual perspective informs study of policy as a constitutive discursive practice.

Bob, Pop, Bibel - die Spuren der Bibel in den Songtexten Bob Dylans

Bob, Pop, Bible - Traces of the Bible in Bob Dylan's Song Texts. The article analyses how Bob Dylan makes reference to the Bible in his songs. Dylan is a gifted poet who likes to contradict himself again and again, and who's biography also includes a phase of presenting himself to the public as a born again evangelical Christian. From the perspective of intertextuality the author shows how the song texts in the different phases of Dylan's journey are situated in biblical pretexts and posttexts. This provides - except for the first years after his conversion - an open play of associations by the recipients as well.

På Vej Mod Short Storyen

ABSTRACT The article derives from the intertextual approach to the notion of literary identity, introduced to the modern literary theory in the 1960’s by Julia Kristeva (born 1941). The main idea behind this approach is that no literary text should be perceived as an isolated unity, but always in relation to other texts, which it refers to. The author applies the intertextual perspective to examine the signs of external literary influences in Lise Andersens minimalist prose collection ”En særlig sommer og andre billeder”, published in 2008. The analysis aims to highlight influences from the American short story genre, which appears as an important source of inspiration not only for Andersen herself, but in fact for most of the Danish writers of minimalist fiction. The analysis provides examples of, how inspiration from the American short story manifests itself in form, narration and structure of the selected stories in the collection. Last but not least, the author draws attention to the general importance of American influences in Danish contemporary short fiction and their role for the critical perception of this literary genre both in Denmark and abroad.

Excavating Historicity in the U.S. Network Neutrality Debate: An Interpretive Perspective on Policy Change

This article offers a framework for studying the historicity of the contemporary debate about network in the United States by drawing on the theory of intertextuality. Contrary to the popular notion that the idea of neutrality first appeared in 2002, the article traces the term back to the 1960s when the Federal Communications Commission took up the problem of convergence or compunications in the Computer Inquiry proceedings. The article closes with some reflections about how an intertextual perspective informs study of policy as a constitutive discursive practice.

Intertextuality in James Reeves' verses for children

This article seeks to consider the relation between intertextuality and poetry through James Reeves’ verses for children. By examining all his poems intended to children, this study demonstrates that Reeves constitutes with his readers a peculiar as well as an interactive relationship, which may be detected mainly in the light of the dynamic model of intertextuality as it has been refined by certain reader-response theorists. What becomes apparent then is that the way Reeves employs intertextual associations in his verses is symptomatic of his attitude towards the literary experience. The child-reader who comes across Reeves’ poetry not only activates the relevant texts via a process of experiencing the very essence of poetry itself, but additionally stimulates his/her own response. Reeves tries to develop the ability of his reader to extend his/her imagination and to widen the day-to-day feelings through the way he invites his child-reader into the literary experience. By transforming his material into unusual arrangements, he demands his/her reader to discover unknown or incomprehensible associations, in order to develop the meaning of the poetic text, to decode textual consequence, and, finally, to experience textuality in the perspective of intertextuality. Key words: James Reeves, poetry for children, verses, intertextuality, reader-response theory.

Ezekiel's Conceptualization of the Exile in Intertextual Perspective

Ezekiel's Conceptualization of the Exile in Intertextual Perspective

Den befolkade ensamheten

Populated Solitude: The Role of the Author in Strindberg’s Ensam and the Intertextual Ties to Baudelaire’s Flâneur-Poet
 In its portrayal of an anonymous writer leading a secluded life in Stockholm, August Strindberg’s novel Ensam (1903) has commonly been perceived as an autobiographical work. This article looks beyond these biographical bonds, and illuminates the novel from an inter-textual perspective, drawing upon the works of Charles Baudelaire. Focusing on the role of the author in Ensam, the article examines how the author’s encounters with the city – its theatrical expressions and its crowds – transforms impressions into literature. In so doing, the figure of the author bears strong resemblance to Baudelaire’s flâneur-poet. The article argues that, in addition to the novel’s biographical background, Ensam can be placed in, and understood through the context of the flâneur literature for which Baudelaire is known.

How to do things with mottoes: recipes from the romantic era (with special reference to Stendhal)

This article investigates the textual embedding of epigraphs in the first decades of the nineteenth century. While it had long been customary to use a Latin or Greek quote on title pages, many British and French Romantics went further, placing one or several mottoes at the beginning of each chapter or poem. From an intertextual perspective, these quotes are indexical traces of absent texts. The paratextual dialogue, this article’s main focus, rather involves equally present elements (motto and title, motto and chapter, motto and motto). As a form of commentary, epigraphs shed light on the text they accompany, thus operating in a convergent manner, but their divergent potential should not be underestimated: instead of helping us plod through the plot, mottoes can lead us astray, much like unreliable narrators. Taken as a whole, they form a parallel text, an alternative narrative, where writers sometimes allow themselves to develop a different, paradoxical, poetics. The above-mentioned issues are illustrated with examples from Stendhal, whose Red and Black, arguably the most playful and ironic example of “motto-mania” in French Romantic literature, is reread in light of Roland Barthes’ S/Z.

Samuel Johnson as Intertextual Critic

Intertextuality considered in its simplest form refers to a silent, invisible assembly of linkages between individual texts, linkages based upon such properties of resemblance as repetition, formal similitude, generic affiliation, semantic identity, reversal, and assimilation and substitution.1 Pragmatically, the notion of intertextuality urges critical readers to focus upon the relationships between texts with an equal or greater attentiveness than what is frequently given to the formal, biographical, or historical properties of literature. Intertextuality can be considered positively or negatively. Positively, it represents an interlocking grid of connection, representing filiations of human contact. This perspective sees the course of literary history as a continuous line in which all texts are aspects of the same ontological order, intact and inclusive. The concept can also bear the negative weight of divisiveness and agonistic conflict of dangerous theft. In the pages to come, both of these aspects will be examined. This paper seeks to interrogate Johnson's critical outlook through the frame of an intertextual perspective.2 More specifically, this essay focuses on two key concepts central to Johnson's literary and critical achievement: mentoring and intertextuality. It aims to realize three specific goals: 1) to establish Johnson's status as a major intertextual critic; 2) to delve more deeply than others have done into Johnson's use of mottos and translations from the periodical essays especially investigating their utility as instruments of critical investigation and illumination;3 and 3) to inquire into the relationship between Johnson's intertextual practice and his lifelong preoccupation with mentoring.4 The essay thus endeavors to connect Johnson's critical practice with recent theoretical notions about interactive and transformative relations among texts, arguing that a consideration of

The Role of African Christian Discourse in Redefining Identity, Literature and Language Education in Southern Africa: The Case of the Founding Text of Paul Mwazha’s African Apostolic Church

Being both a subject and a medium of learning, language is the vehicle through which society passes its worldview to youths. This raises questions of selection and grading of material to be incorporated into syllabi and textbooks. This paper argues that Southern African language syllabi need a paradigm shift in order to better reflect an African society seeking to reaffirm its identity after decades of oppression. There is need to open up the language curriculum to discourses widely consumed by Africans but hitherto ignored by formal educational systems still biased towards Western worldview. These include the discursive production of African Instituted Churches (AIC). The founding text of the African Apostolic Church (AAC) of Zimbabwean, Paul Mwazha, is examined from the perspective of intertextuality in order to illustrate its literary and educational value. A case is then made for the inclusion of such texts in secondary school curricula in Southern Africa.

An Unrecognized Voice: Intra-Textual and Intertextual Perspectives on Psalm 81

Psalm 81 constitutes an Exodus psalm in which YHWH speaks directly to his people, admonishing them against worshipping foreign gods. As an incentive to obedience, YHWH recalls the punishments he inflicted against Israel's forefathers for disobeying this injunction, and promises blessings to those who obey him. In addition to the original meaning intended by the psalmist, Psalm 81 bears additional meanings and serves additional functions depending on the contexts in which it appears. Thus the individual meaning of the composition differs from the meaning it adopts within the complex of its neighbors, Psalms 80 and 82. Similarly, its function alters again when read together with its related intertexts. The present study constitutes a threefold literary reading of Psalm 81 that explores the changes in Psalm 81's meaning from its reading as an individual text, to its reading in light of the aforementioned contexts. Even though the present paper adopts a synchronic approach to intertextuality, it nevertheless raises the probability of either the psalmist or the authors of Psalm 81's intertexts purposefully reinterpreting their sources.

The capitalist Christ of the Word of Life Church's unlimited women's magazine: an intertextual and interdiscursive analysis

“Unlimited” is a quarterly publication of the Word of Life Church women's ministry that was examined from a perspective of intertextuality and interdiscursivity. The paper focuses on the magazine's editorial article in order to characterise its discourse and its persuasive value. It concludes that the editorial was dominated by a capitalist voice. This probably reflects the church's concept of prosperity, a key theme of Modern African Pentecostal teaching. The paper further concludes that Christian discourse (Biblical teaching) was used as a vessel to persuasively convey capitalist principles to the audience. The magazine's text is thus characterised by the hybridity in which the central agenda of fostering a capitalist mindset was couched in Biblical text. This hybridity was clearly discernible in terms of explicit intertextuality and interdiscursivity. The former introduced Biblical text into the article while the latter developed capitalist principles. It is a case of stuffing Christ's mouth with capitalist discourse. International Journal of Emotional Psychology and Sport Ethics Vol. 10 2008: pp. 110-122

My words echo thus: possessing the past in Peter Ackroyd

My Words Echo Thus is the first comprehensive evaluation of Peter Ackroyd's body of work, effectively bridging his novels, biographies, poems, and other writings to introduce readers to the fanciful premises, historical settings, and parallel tales that characterize this British writer's prodigious oeuvre. Employing a broadly intertextual perspective, Barry Lewis reveals how Ackroyd possesses the past like a medium, echoing its voices in his work. Best known for his Whitbread Award-winning novel Hawksmoor, Ackroyd writes fiction in the morning and biography in the afternoon. Lewis explores the ways in which Ackroyd allows these two genres to cross-fertilize, each informing the other. Lewis outlines the early influences on Ackroyd's career, assesses each of his books chronologically, and surveys available criticism of the writer. By looking at Ackroyd's work in sequence, Lewis suggests, one can appreciate the synergy between novels that often feature biographical subjects and biographies that are interanimated through fictional techniques. Placing each work in the larger mosaic of Ackroyd's career, Lewis explores the writer's thematic concerns, including London and Englishness, the tradition of Cockney visionaries, the Catholic legacy, the territorial imperative, the paradoxes of time, the continuity of the literary canon, and father-son relationships. Lewis also discusses the significance of the great writers who recur as touchstones throughout Ackroyd's work - William Shakespeare, William Blake, Charles Dickens, and T. S. Eliot.

A Royal Priesthood: Literary and Intertextual Perspectives on an Image of Israel in Exodus 19.6 – John A. Davies

A Royal Priesthood: Literary and Intertextual Perspectives on an Image of Israel in Exodus 19.6 – John A. Davies

Ancestral and Authorial Voices in Lloyd Newson and DV8's ‘Strange Fish’

Lloyd Newson has worked in Europe for some twenty-three years with DV8 Physical Theatre, creating powerful socio-political pieces which address sexuality and interpersonal relationships. These works are generally created with performers through workshop processes and collaboratively with composers. London's experimental dance and theatre scenes in the 1980s and early 1990s provided a challenging context for Lloyd Newson's early creative endeavours. Here, Janet Lansdale takes one work, Strange Fish, as the locus of her discussion on narrative positions in relation to dominant forms of modern dance and issues of sexuality, homophobia, and politics within physical theatre. She conceptualizes and contextualizes ‘voices’ as ‘authorial’ and ‘ancestral’, and traces their manifestation in readings of the work. Complementary and sometimes competing voices from author, text, reader, and cultural history are articulated through a range of intertextual perspectives. This is the second in a series of articles on this work. Janet Lansdale is Distinguished Professor in Dance Studies at the University of Surrey, where she was Head of Department, and later Head of the School of Performing Arts. She is the author and editor of four books on dance theory, history, and analysis, the most recent being Dancing Texts: Intertextuality in Interpretation (1999).

Vicente Aleixandre's Stream of Lyric Consciousness

Focussing on 'La destruction o el amor' (1935), this study explores Aleixandre's surrealist masterwork from an intertextual perspective inspired by the theories of Harold Bloom, Michael Riffaterre, Gerald Genette, and others. Among the cultural and literary intertexts considered are surrealism and the seminal role of Freud, metaphor, genre, narrtive technique, and ancestor poets. An intertextual tack is instrumental in perceiving logic behind Aleixandre's surrealism, an irrational-appearing poetry widely taken as privately produced and self-contained. Key to the poetic logic of Aleixandre's surrealism, the intertextual horizon throws light on Aleixandre's place in his own generation and in literary history.