Intertextual Process Research Articles

CONSTRUINDO O ‘MITO’ E DEMONIZANDO A ESQUERDA: UMA ANÁLISE DE DISCURSO CRÍTICA DAS DEZ FAKE NEWS MAIS COMPARTILHADAS VIA FACEBOOK E WHATSAPP DURANTE A ELEIÇÃO PRESIDENCIAL NO BRASIL EM 2018

The dissemination of fake news, by means of texts which were massively shared on social media and spread disinformation among the population was a phenomenon that marked the 2018 Brazilian presidential elections. In October 2018, Revista Exame published a report containing a ranking with the ten most shared fake news throughout the first round of the presidential elections. Using the three-dimensional model of critical discourse analysis proposed by Norman Fairclough (2003), I analyzed the ten texts of the ranking, identifying their structure, and how the processes of lexicalization, intertextuality and interdiscursivity appear within the corpus; based on Wardle (2017), I investigated what kind of information disorder was used; finally, according to Thompson (2011), I examined how ideology operates in these texts. Throughout the analysis I have noticed a superlexicalization of a nationalist ideal linked to the then-presidential candidate Jair Bolsonaro. Two semantic-discursive fields stood out: the representation of Jair Bolsonaro and that of politicians associated with the left-wing spectrum. Bolsonaro is represented throughout the texts as the candidate who has validation from the public. Left-wing politicians are represented as enemies who need to be fought and who exhibit morally questionable behavior. It was possible to conclude that the texts presented here corroborate a movement of the middle-class in support of the candidate Jair Bolsonaro (Cavalcante, 2020), being complacent with his neo-fascist discourse in favor of a neoliberal/meritocratic ideology, depicting left-wing politicians as executioners of nationalist progress.

Using Companion Texts to Widen Student Perspective Across the Curriculum

This article is based on an unexpected experience between a grandfather (William Bintz, the first author) and his six-year-old granddaughter. This experience sparked a collaborative inquiry project that explored companion texts as a new way to develop paired texts. The purpose of this article is to share examples of companion texts and instructional strategies to use across the curriculum. We begin by describing four theoretical frameworks underpinning the notion of companion texts. These include the concept of paired text, the benefits of paired text, the process of intertextuality, and reader response theory. Next, we describe companion texts as a new way to pair texts and include a rationale for the development and use of companion texts across the curriculum. Then, we share samples of instructional strategies that teachers can use with companion texts to widen student perspectives and enrich knowledge across the curriculum. We end with concluding thoughts.

The Geno-song and Pheno-song of the "Sirens": The Finnish, Swedish, and Italian (Re)Translations of the Musical Prose of "Sirens"

ABSTRACT: The challenge in any translation, but especially in translations of Joyce and of Ulysses , is that a work of art is never one voice, one utterance, but is built upon an entire literary tradition in the postmodern intertextual process. In this essay, we focus on the case of "Sirens," an episode in which the undertone of the textual surface is not only literary tradition but, intermedially, the forms, signifiers, and experience of music. In the thinking of Roland Barthes, a musical text, or writing aloud, includes phenotext, the regular mode of communication, and genotext, which refers, without denotation, directly to the body. This, according to Barthes, causes friction, the grain of the voice. In this essay, we examine how (re)translations of "Sirens" into Swedish, Italian, and Finnish recreate this friction in their respective literary horizons, through their different linguistic possibilities. We find that, in their performances of the geno-song and pheno-song of the musico-literary intermediality of Joyce's "Sirens," the Swedish, Italian, and Finnish translators either stop to explicate the symbolic in the mode of pheno-song or convey the semiotic in the legato line of geno-song, but rarely are they able to include both and convey the grain of "Sirens." Our contention is that "Sirens" should not be reduced to symbolic denotation, but that the musical aspect of the episode should also not be emphasized in an overly analytic, formal way. Through examples of i) verbal music, ii) fragmented polyphony, and iii) microstructural analogies to music, we argue that the target-text reader should hear the grain of fictive language against the musical voice.

Russian Literature in Japanese Film: Cross-cultural Adaptations in the Silent Era

Since the beginning of the film industry in Japan, many short films and movies based on Western literary works were made, especially during the 1910s and 1920s. Several of those films were based on fashionable Russian literary works that had been staged in Shingeki (new drama) theaters. This study examines the adaptations of Russian literature produced from the early 1910s until the end of the silent-film era in the 1930s, focusing specifically on films based on Tolstoy’s novel Resurrection, the drama The Living Corpse, and Gorky’s play The Lower Depths. It is shown that the early adaptations, filmed in the 1910s, aimed to closely adhere to the original literary works by maintaining key plot events and recreating the cultural milieu through sets, costumes, and staging. However, starting from the 1920s, adaptations followed intercultural and intertextual processes, freely modifying the works to suit the Japanese cultural context. This shift in the approach to adapting Western literary works was influenced by the social, political, and cultural changes experienced by the country during those decades.

Metamorphosis of a diplomatic interpreting event in ancient China

This article discusses how the earliest known interpreting event in Sinitic China was chronicled and recapped in political and literary writings across different dynasties, in an intertextual process comparable with metamorphosis. This event has continued to shapeshift in writings because of its symbolic importance in promoting Sinocentric sentiments and Confucian ideals. This interpreting record was, unusually, from a comparative perspective, elevated to embody ideological functions largely detached from inter-lingual communication. For millennia, this interpreting “legend” has been intertextually alluded to in numerous writings to connote auspiciousness, to extol Sinitic governance and civilisation, and to champion specific cultural values or political philosophies. This article aims at identifying and examining the symbolic and ideological significances of the conceptual link between the alpha interpreting record and complimentary Sinitic governance and virtues, so consciously drawn in theses of some archival texts. It is significant in two regards. First, it initiates an analysis of a classical reference to interpreting, which has escaped research attention in humanities. Second, it explores an unorthodox angle by analysing the discourse of interpreting in ancient China. The results of this analysis could serve as reference points for cross-cultural comparison of conceptualisations of “interpreting.”

La Peinture selon Proust: les détournements du visuel by Sophie Bertho

Reviewed by: La Peinture selon Proust: les détournements du visuel by Sophie Bertho Thomas Baldwin La Peinture selon Proust: les détournements du visuel. By Sophie Bertho. Paris: Classiques Garnier. 2021. viii+170 pp. €26. ISBN 978–2–406–10757–6. This book brings together work published by Sophie Bertho over the last twenty years on the subject of Proust's aesthetics and on the 'fonctionnement interne de la peinture' (p. 15) in A la recherche du temps perdu. The first part focuses on the ways in which the pictorialist poetics of A la recherche represent both an assimilation and a transformation of 'les idées ou la "manière" de ses maîtres' (p. 29). The works of Montesquiou, the Goncourts, and Ruskin, Bertho argues, are 'retenus et retravaillés' (p. 29) by Proust, suggesting a form of influence and rewriting, a 'critique en action' (an expression that Proust himself uses to describe pastiche) that cannot be reduced either to repudiation or to a more transactional, unambiguous intertextual process involving debt and uncreative borrowing (p. 29). The second and third parts of the book focus on the ways in which the treatment of painting in A la recherche represents a shift away from a more 'traditional' mode of ekphrasis (involving set-piece, relatively autonomous descriptions of visual art that invite us to 'quitter un instant le roman pour nous tourner vers un tableau, l'admirer' (p. 104)) towards a 'détournement du pictural', a 'dissolution' (p. 17) of well-known paintings in writing. It is here that the argument of the book is at its most interesting and also its most problematic. Bertho demonstrates quite convincingly—and with ample reference to manuscript material—that Proust stands at a distance from a straightforwardly mimetic, referential ekphrastic mode or 'transposition d'art' in A la recherche (one that he had dabbled with on several occasions before 1899), and that he experiments in that work, through processes of metaphorization (for example), with a reappropriation and reworking of the visual by the textual—an internalization of painting in or by narrative (Bertho calls this approach radically 'modern', but readers of Diderot's Salons, for example, would probably disagree). However, her suggestion that the less conventional form of ekphrasis developed by Proust in A la recherche involves the 'effacement' (p. 17) of painting is underpinned by a superannuated take on the ekphrastic relation as a paragonal battle for dominance between word and image, the limitations of which have been clear for some time. There is a critical cack-handedness here that is compounded by the absence of any meaningful reference in Bertho's work to recent critical writing on Proust and/or ekphrasis in English. The idea of an 'effacement' of the visual in or by the textual does not, furthermore, do justice to the title of Bertho's book. A 'détournement' might be a diversion, a misappropriation, a hijack, or a rerouting (it is also, famously, the name of a technique developed in the 1950s by the Internationale lettriste and later adapted by the Internationale situationiste), but to say it is an erasure leaves the impression of an overexcited drama that does not reflect the subtle intricacies of the rest of Bertho's argument, in which terms such as 'traces', 'contamination', 'profanation', and 'allusion' feature prominently. [End Page 245] Thomas Baldwin University of Sheffield Copyright © 2023 Modern Humanities Research Association

Reisen als intertextueller Schreibprozess in Günter Grass’ ‚Netajis Weltreise‘ (2015)

The paper analyses the complex interplay of travelling, writing, and reading in Günter Grass’ ‚Was nicht geschrieben wurde‘ – a 2015 ballad, published posthumously, on Indian freedom fighter Subhas Chandra Bose. In the text, the narrator takes on the role of biographer, condensing the life story of the ambiguous political figure Bose into a mere 12 pages. Biographical writing inevitably implies intertextual procedures. Grass’ ostensibly biographical Bose poem constructs a complex network of three intertextual and intermedial strands: an in-depth examination of traditional narratives from Indian history and mythology, explicit cross-connections to Grass’ other texts on India, especially ‚Zunge zeigen‘ (1989), and individual references to Bose’s autobiographical material. The paper argues that Grass’ India texts highlight the analogies between travelling and writing which shape access to another culture (with drawing as an intermediate step). While travelling is preconditioned by reading, it is continued and processed by writing. The emerging intertextual processes go beyond direct quotations. Rather, the traveling narrator in Grass’ texts consumes cultural pretexts and inscribes himself in local discourses. The results are subjectively coloured, hybrid textual constructs that arise on the narrative level. Keywords: Günter Grass, Subhas Chandra Bose, intertextuality, intermediality, travel writing, cultural pretexts, biography

Reisen als intertextueller Schreibprozess in Günter Grass’ ‚Netajis Weltreise‘ (2015)

The paper analyses the complex interplay of travelling, writing, and reading in Günter Grass’ ‚Was nicht geschrieben wurde‘ – a 2015 ballad, published posthumously, on Indian freedom fighter Subhas Chandra Bose. In the text, the narrator takes on the role of biographer, condensing the life story of the ambiguous political figure Bose into a mere 12 pages. Biographical writing inevitably implies intertextual procedures. Grass’ ostensibly biographical Bose poem constructs a complex network of three intertextual and intermedial strands: an in-depth examination of traditional narratives from Indian history and mythology, explicit cross-connections to Grass’ other texts on India, especially ‚Zunge zeigen‘ (1989), and individual references to Bose’s autobiographical material. The paper argues that Grass’ India texts highlight the analogies between travelling and writing which shape access to another culture (with drawing as an intermediate step). While travelling is preconditioned by reading, it is continued and processed by writing. The emerging intertextual processes go beyond direct quotations. Rather, the traveling narrator in Grass’ texts consumes cultural pretexts and inscribes himself in local discourses. The results are subjectively coloured, hybrid textual constructs that arise on the narrative level. Keywords: Günter Grass, Subhas Chandra Bose, intertextuality, intermediality, travel writing, cultural pretexts, biography

Contextualization cues for media references in everyday conversation

While scholars have explored the importance of quoting media in accomplishing relationship and identity work in conversation, there is little work on how speakers phonetically and paralinguistically signal spoken media references specifically so that they may be recognized in the speech stream. This article demonstrates how speakers make 148 media references recognizable across 5 audio-recorded everyday conversations among friends. I identify 5 ways that these playful media references are signaled in talk: word stress and particular intonation contours, pitch register shifts, smiling and laughter, performing stylized accents, and singing. This systematic analysis of the contextualization cues used to signal media references in everyday talk contributes to understanding how speakers actively participate in intertextual processes.

Translation as an intertextual process in the context of rewriting

Yenidenyazma kavramı, edebiyat, metinlerarasılık gibi alanlarda etkisini gösteren ve araştırılan bir kavramdır. Metinlerarasılık çalışmalarında, bir metnin kendinden önceki başka bir metinden belirli yöntemlerle gerek doğrudan gerekse dolaylı bir biçimde ifadeler taşıması sonucunda iki metin arasında oluşan ilişki bağlamında ele alınan bu kavram, son zamanlarda çeviribilim alanında da kendini göstermektedir. Çeviri sürecinde erek metin, kaynak metnin biçimsel düzeyde bir çeşit yeniden yazması olarak kabul edilmektedir. Süreç sonunda ortaya çıkan erek metin ile hareket noktası olan kaynak metin arasında bu bağlamda metinlerarası bir ilişkinin söz konusu olduğunu söyleyebiliriz. Özellikle de dillerarası çeviri bağlamında düşündüğümüzde, belirli bir dil dizgesinde yazılmış kaynak metin, başka bir dil dizgesinde yeniden yazılmaktadır. Bu yenidenyazma süreci sonunda ortaya çıkan erek metin, kaynak metinle aynı içeriği, mesajı, anlamı ve etkiyi taşıyan fakat biçimsel olarak kaynak metin dizgesinden farklılık gösteren bir metindir. Çünkü dillerarası çeviride çevirmenin amacı, kaynak metni başka bir dile aynı anlamı, etkiyi ve içeriği verebilecek şekilde aktarmaktır. Böylece hem metinlerarasılıkta hem de çeviride yenidenyazma ile biçimsel bir dönüşüm söz konusudur. Buradan hareketle, yenidenyazma kavramını metinlerarasılık ve çeviri sürecinin ortak noktası olarak değerlendirebiliriz. Böylece, her iki süreçte de var olan yenidenyazma (dönüşüm) sayesinde metinlerarasılıktaki altmetin ve anametin (üstmetin) ile çevirideki kaynak ve erek metin arasında bir benzetme yapmak mümkündür. Bu çalışmanın amacı, metinlerarasılık ve çeviri ilişkisine yenidenyazma bağlamında yaklaşıp çevirinin metinlerarası bir süreç olduğunu farklı bir açıdan göstermek ve her iki alana ait metin kavramları arasında ilişki kurmaktır.

Conductus, Sequence, Refrain

Latin conducti do not typically come to mind when considering the medieval practice of French refrain citation; intertextual refrains were conventionally interpolated into French songs, narratives, and the upper voices of motets. Yet three conducti copied in late thirteenth-century northern French manuscripts intervene in this traditional narrative by engaging compositionally with French refrains: Veni sancte spiritus spes in GB-Lbl Egerton 274 (known as LoB or Trouvère F), and Marie preconio and Superne matris gaudia in F-Pn lat. 15131 (the St. Victor Miscellany). Previously identified as contrafacts of French refrain songs, Veni sancte spiritus spes shares its melody with a widely cited French refrain, while Marie preconio and Superne matris gaudia are rubricated with French refrains and scribal cues that suggest a musical relationship with French refrains. However, the poems of these conducti exhibit significant relationships not with French refrains but with homonymous and widely sung liturgical sequences. These conducti are not simply contrafacts but reflect a compositional negotiation between variously borrowed and new elements, resulting in Latin songs implicated within citational networks of liturgical chant and French refrains. Significantly, the repeated refrain serves in each song as the site for intertextual and intermusical processes, with borrowed material from French refrains and Latin sequences shaping the music and poetry of the new refrain-form conducti. Considered together, these conducti shed light on understudied Latin contexts for practices of multilingual intertextuality and intermusicality in late thirteenth-century France.

The Discourse of Propaganda: Case Studies from the Persian Gulf War and the War on Terror

The Discourse of Propaganda: Case Studies from the Persian Gulf War and the War on Terror

La tentación de la imagen: El hipertexto de la Nueva Crónica y Buen Gobierno de Guamán Poma de Ayala en el imaginario gráfico del Perú contemporáneo

Guamán Poma de Ayala’s Nueva Corónica y Buen Gobierno, even though unjustly disregarded by its early critics, has had a tremendous influence in Peruvian iconographic culture. From museum pieces and book covers to liquor bottles and bank advertisements, the style of the Nueva Corónica has become common currency in intellectual and public spaces, an immediately recognizable token for the diffuse idea of what is authentically Peruvian. This text sets out to explore the ample world of images explicitly or covertly inspired by Guamán Poma de Ayala’s text and artwork as well as analyze the distinct circumstances in which these processes of intertextuality occur. What elements of Guamán Poma’s images are kept or left out and why? What makes these instances of appropriation differ from each other? Using the intertextual model we set out to analyze the Nueva Corónica’s ever-growing hypertexts, their purpose and their motivations.

Theorie und Methode der Gattungsgeschichtsschreibung.Mediävistische Perspektiven

Theorie und Methode der Gattungsgeschichtsschreibung.<b>Mediävistische Perspektiven</b>

The Use of Discourse Maps to Teach Contract Negotiation Communicative Practices

This article reports on the use of discourse maps in conjunction with genre and discourse analysis to help teach communicative practices for contract negotiation. Using one map as a baseline to understand the intertextual process of negotiating a contract in communication with business clients and counterpart lawyers, other maps can zoom in and examine the discursive features of email genres, cover letters, and different versions of the contract under negotiation. The type of discourse maps developed in this study can be utilized for task-based writing materials and role-play activities that facilitate the authentic experience of negotiating a business deal.

Mimimi de mulher em ‘memes’: referenciação, estereotipagem e reenunciação

Os posts (publicações) trocados em rede digital demonstram uma multi-interação e projetam uma profícua partilha de informações, opiniões, novos gêneros discursivos e protocolos de comunicação. É esse o caso do meme, um gênero digital emergente, que ganha rapidamente força expressiva e capacidade comunicacional. Justamente pelo seu caráter “replicante”, ao repetir, total ou parcialmente, o dito e/ou o dizer para expressar algo novo e deixar impresso em sua superfície seu caráter imitativo-transformador, representa, de modo explícito, o dialogismo que perpassa todo enunciado. A partir da configuração de memes caracterizados como “mimimi”, isto é, de conteúdo insistentemente questionador, mais especificamente aqueles que focalizam a representação da mulher, pretende-se analisar como é fabricado um estereótipo, pressupondo-se haver representações sociais inicialmente prototípicas com potencial para serem alçadas a generalizações. Destaca-se nessa análise a reenunciação de fórmulas fixas, tão comumente empregada em memes, em um visível processo de intertextualidade/intericonicidade partilhado, sobretudo, ou especificamente, pelos internautas, como fator de reorganização avaliativa de certas representações sociais. A partir de um conjunto de memes criados em torno da máxima “bela, recatada e do lar”, utilizada, inicialmente, pela revista Veja, em abril de 2016, na descrição de Marcela Temer, “primeira-dama”, este trabalho pretende analisar o processo verbo-visual de referenciação nesses enunciados, marcadamente estereotipado, como recurso comunicativo e axiológico relacionado à feminilidade. A base teórica para a análise estará centrada na Teoria Semiolinguística de Análise do Discurso, na interface com a Linguística Textual, com a Teoria das Representações Sociais, com a Semiologia e com aporte relacionado à reenunciação.

Visual hybridizations in two audiovisual productions

This paper aims to analyze and discuss two films that present hybrid aesthetics: Lars von Trier’s Dogville (2003) and Welchman´s and Kobiela´s Loving Vincent ( 2017). Dogville evokes the theatre language in its construction and develops an intertextual relationship by using Brecht’s epic theatre, while Loving Vincent is a tribute film to Vincent van Gogh, essentially intertextual because it is based on letters that van Gogh once wrote, as well as his own works of art. The theoretical frame of reference on the processes of dialogism, polyphony, hybridization, intermediality and intertextuality is provided by Araujo, Bazin, Bakhtin, Brecht, Kristeva, Metz, Muller, Nagib e Rajewski.

MARGUERITE DURAS E A AUTOFICÇÃO CONSTRUÍDA PELA REESCRITURA

Ao longo das últimas décadas, diversos estudos acadêmicos dedicaram-se a refletir sobre os aspectos autobiográficos da obra de Marguerite Duras, particularmente de O amante que, desde a sua publicação, em 1984, tem recebido diferentes rótulos, como autobiografia, romance autobiográfico e autoficção. Entendemos que os possíveis aspectos autobiográficos do romance não podem ser analisados isoladamente. No percurso de escrita de Marguerite Duras, os textos remetem uns aos outros, em um processo singular de intertextualidade do qual emerge a figura de um eu comum ao conjunto desses textos. Pensar, portanto, em escrita de si ou em autoficção na obra de Duras faz sentido quando se considera o processo de reescritura, tão característico da produção da autora. No presente artigo, a partir do suporte de teóricos da autobiografia e da autoficção, temos por objetivo analisar a construção desse sujeito que diz eu no universo ficcional durassiano, construído pela reescritura que permite interpretar como autoficção a relação entre os textos e não um texto isolado.&#x0D; Palavras-chave: Marguerite Duras. Autoficção. Reescritura. Literatura. Século XX.

Інтертекстуальність у поетичній мовотворчості Максима Рильського

Problem’s setting. The problem of interpretation and research of the term “intertextuality” today is a topical issue of philosophy, literary criticism, linguistics, modern Ukrainian linguistic poetics, and stylistics of the text. That is, no text can be created in an empty space, it must have an intertextual relationship with other works or texts. Analysis of recent studies. The theoretical basis for the study formed works in the field of modern linguistics, in particular, Robert de Bogrand, Alexander Veselovsky, Olga Vorobyova, Wolfgang Dressler, Alexander Potebnya considered “intertextuality” as a textual category; Yuri Lotman, Vladimir Lukin – as a prerequisite for textuality; Lyudmyla Babenko, Suren Zolyan, Larysa Omelchenko, Natalia Fateeva – as means of its implementation in specific texts. Objective of the research. The purpose of the work is to analyze the external and internal connections of the literary text of Maksym Rylsky and the means of their realization in the explicitly intertextual process of the text’s existence. The main part. The article studies the peculiarities of the artistic embodiment of intertextuality in the poems of Maxim Rylsky; the definition of intertext in a broad and narrow sense is traced; the classification of the intertextuality of Jennet is singled out. The focus is on the separation of language units, intertextual components in the language of Maxim Rylsky; examples and quotations, allusions, titles, epigraphs, hints, genre connection of texts, references to the pretext in the artist’s creative work are given and analyzed. Conclusions. Research and analysis of the intertextuality of the artist’s poetics show that in a new way the comprehension and depiction of quotations, allusions, epigraphs, titles, hints, paraphrases become differential features of the individual author’s style.

Drie broers en een schipbreukeling

Summary In this article I will apply an intertextual perspective to a selection of epigrams from the Greek Anthology in order to assess the role of variation within these epigrams. Within the tradition of the literary epigram, the element of variation had always been important, yet some Hellenistic and Imperial epigrammatists, such as Archias and Zosimus, took this dimension of the genre to extremes, in creating strings of epigrams which intentionally vary on their Imperial models and on their Imperial models´ Hellenistic models. This article charts some of these epigrammatic ‘chain reactions’: the poems on the three hunting brothers Damis, Clitor and Pigres, the birthday epigrams of Leonides of Alexandria, the epigrams on the shipwrecked Antheus, and several epigrams on ships that were destroyed prematurely. All serve to assess the way in which intertextual processes develop within the epigrammatic tradition, and to show that such a perspective is essential to their appreciation.