Theory Of Intertextuality Research Articles

Інтертекстуальна система «композитор–фольклор»

Метою дослідження є здійснення теоретичного аналізу проблематики взаємодії теорії інтертекстуальності та теорії переінтонування фольклору у композиторській творчості. Методологія дослідження побудована на міждисциплінарному інтегруванні методів сучасної філософії, культурології та мистецтвознавства. Наукова новизна одержаних результатів визначається тим, що процес переінтонування фольклорних витоків у композиторській творчості розглядається та методологічно осмислюється в ракурсі дихотомії «своє – чуже», тобто в якості інтертексту. Висновки. Обґрунтовуючи методологічну доцільність інтертекстуального підходу, відзначимо, що в системі «композитор–фольклор» інтертекст і його елементи виявляють загальні властивості гетеролексичності, композиційної та стильової варіабельності. Так, текстова різноманітність фольклорно-жанрового інтертексту представлена матеріалом від цитати до оригінальних авторсько-стильових тем або дрібних компонентів фольклорності в авторському тематизмі, а різноманітність стильового контексту автора простягається від класики до авангарду та змішаних технік ХХІ ст. В інтертекстуальній системі «композитор – фольклор» вибудовується типізація, що як і раніше виражена в інваріантній атрибутиці, генетично притаманній фольклорному жанру. Але тепер, під час конструювання в результаті композиторської роботи, вона набуває рис жанрово-стильової та семантичної дуалістичності. Структурно-семантична атрибутика фольклорного жанру в цьому контексті виражена узагальнено, але не в фольклорно-традиційному, а в стилізованому вигляді та має на увазі присутність авторського компонента.

<b>Da adaptação à transconstrução: antropofagia como uma metodologia translocal

Neste texto, proponho o conceito de Antropofagia Cultural (Andrade, 2011) – originalmente uma prática dos povos indígenas brasileiros e que, posteriormente, foi incorporada pelo pensamento literário modernista – como um arcabouço teórico-procedimental, um horizonte de leitura, para a compreensão da relação dialógica entre diferentes mídias, textos e culturas. Com efeito, proponho um repensar do diálogo entre as mídias como um processo violento de Devoração transcultural (Amorim, 2016) e, por consequência, da própria ideia de adaptação enquanto uma prática de Transconstrução. Para tanto, esse artigo se baseia no enquadramento teórico favorecido pelas teorias dialógicas e intertextuais da adaptação e no conceito brasileiro modernista de uma Antropofagia Cultural.

A New Method for Reading Architectural Texts Based on the Theory of Intertextuality (Case Study: Al-Qadir Mosque, Iran)

A New Method for Reading Architectural Texts Based on the Theory of Intertextuality (Case Study: Al-Qadir Mosque, Iran)

Essays on Nima Yushij: Animating Modernism in Persian Poetry

Essays on Nima Yushij: Animating Modernism in Persian Poetry

Intertextuality in Reading Teaching

This study attempts to apply the intertextual theories to the Extensive Reading teaching. Based on the analysis of the questionnaires tests in three classes with three different focuses of applying intertextuality, the paper ends with the conclusion that the intertextual theories in reading do serve a certain help in reading teaching, and for the freshmen English-majors, the social background knowledge is more important than the basic language knowledge.

BELLA’S INFLUENCE: TWILIGHT AND INDONESIAN YOUNG ADULT NOVELS

Abstract. This paper discusses the influence of Stephanie Meyer’s Twilight in Indonesian young adult novels. Tuilet and E’pliss are full of references to Meyer’s Twilight , both direct and indirect, in names of characters such as Edward Cullen and Bella and theme which take the inspiration from Twilight. By using Roland Barthes’s theory of intertextuality and Reference Code and Bloom’s literary influence, this paper is expected to provide a critical analysis of how Twilight influences Indonesian young adult fictions. Through cultural texts written for young readers, it will also be seen how cultural background of the author influence the writing. By applying heuristic and hermeneutics methods in literary reading this study identifythe moral message of the author and how the process of understanding of the author worked. As stated by Roland Barthes that there is no original text for each text is affected by various writings, place and time, it will be seen how far the influence of the novel Twilight on Indonesian contemporary young adult fictions. 
 
 Keywords: Cultural Code, intertextuality, Indonesia young adult fiction, Literary Influence

Medieval Romance: The Aesthetics of Possibility ed. by James F. Knapp and Peggy A. Knapp

Reviewed by: Medieval Romance: The Aesthetics of Possibility ed. by James F. Knapp and Peggy A. Knapp Daniel Reeve James F. Knapp and Peggy A. Knapp. Medieval Romance: The Aesthetics of Possibility Toronto: University of Toronto Press, 2018. Pp. 264. $75.00. The authors of this intriguing book regard medieval romance as a "deeply philosophical" (3) kind of writing whose speculative force lies in its exploration of possible worlds and its resistance to conceptualization. In order to explain the continuing "immediacy" (ix) of romance for its readers today, the authors draw upon Kantian aesthetics, since, in such a system, aesthetic judgments are universal, not historically contingent (22–23). Accordingly, the book devotes much space to arguing that the texts it discusses are beautiful in the Kantian sense. This commitment to arguing for the transhistorical appeal of romance surfaces in several other aspects of the book's structure. The core readings of medieval romances are supplemented at various points with discussions of postmedieval analogues and adaptations. This practice is justified using a theory of bidirectional intertextuality derived from Leibniz's concept of apperception. Texts contain a multiplicity of [End Page 488] detail, and our knowledge of other texts determines which details are perceived as important; the simple presence of intertexts thus exerts a force on our interpretation (12–14). The sections in which later adaptations are discussed generally follow this gentle logic of juxtaposition, rather than insisting on rigid connections. The Leibnizian notion of "folded time" is another key component of the book's methodology. Time is not a "smooth historical progression" but contains "mysterious deep connections" along different axes (9). On the face of it, this would seem to be queer temporality stripped of any non-normative politics, and while the similarity with Carolyn Dinshaw's work is briefly noted (9), the absence of any detailed comparison of these two theoretical frameworks is regrettable. Each of the book's six chapters focuses on case studies that "have echoed across culture with particular vitality and which reflect internally on romance itself" (6). Chapter 1, on the Lais of Marie de France, takes an initial cue from the Prologue's famous metapoetic reflection on the interpretation of difficult texts: Marie's term surplus de sen is used to describe an excess "within the text itself, an excess of tiny detail always available to new perception" (31). In a reading of Eliduc alongside John Fowles's The Ebony Tower, the concept of possible worlds allows for a deft account of the consequences of changing the lai's name (as Marie's narrator suggests) from Eliduc to Guildeluëc and Guilliadun: "the tale suddenly becomes two tales … both told at the same time, through the same events … obscuring untroubled perception of either" (36). The reading of Lanval draws upon the Leibnizian idea of compossibility (the capacity of objects to exist together in a given world without logical contradiction) to show how the lai uses Lanval's love for a fairy from another world to express the irreconcilability of love and feudal obligation. The chapter's final reading, of Yonec, makes a distinction between two types of possible world, metaphysical and epistemic, in order to explore what might be at stake in the imaginative work of fiction for the construction of possible futures. Chapter 2, on Sir Orfeo, takes the Middle English poem as a point in the intertextual web of the Orpheus legend, between ancient and more recent versions: Virgil's Georgics, Marcel Camus's Black Orpheus, and Salman Rushdie's The Ground beneath Her Feet. The poem's intertextual affiliations are taken as analogous to a narrative scheme in which "the past is not restored, but strangely folded into Orfeo's present" (54). The reading thus teases out the poem's awareness of its own legendary past [End Page 489] and narrative future, reflecting on the ways in which traveling through time and between worlds demarcates the essential and contingent aspects of personal identity. Chapter 3 discusses Chaucer's Troilus and Criseyde, arguing that the poem oscillates between a "realistic mode" and a "tendency towards allegory" (85). This refusal of either schematic allegory or simplistic realism allows Troilus and...

Analysis on the Application of Intertextuality and Context Theory in Humorous Discourses

Intertextuality, although emerged in the field of literary criticism, attracts scholars’ much attention in discourse analysis in the field of linguistics. It has certain practical significance in analyzing law documents, advertisements, academic papers, news reports and other types of discourses. Humor, as a pervasive phenomenon in human society and an interdisciplinary research subject, has attracted scholars’ much attention from different fields. This paper aims to explore how intertextual resources are appropriately applied in humorous discourses. As intertextuality at the same time brings at least two contexts of each text, context theory will further help to analyze how intertextual relations in certain context lead to humorous effect.

ОБРАЗНІ ДОМІНАНТИ ХУДОЖНЬОЇ УРБАНІСТИКИ ТАГАРА БЕН ДЖЕЛЛУНА: МІСТО МІЖ ПАМ’ЯТТЮ І ЗАБУТТЯМ

The paper offers an analysis of urban images in several literary texts by a contemporary French writer of the Moroccan origin Tahar Ben Jelloun. In particular, it explores their figurative specifics with respect to cultural, social, and historical contexts related to North African Maghreb in the second half of the twentieth century. Based on selected material, namely the author’s early novels (such as Harrouda, 1976; L’écrivain publique, 1983 and La Nuit Sacrée), as well as on a poetic cycle Cicatrices du Soleil, 1972, figurative and aesthetical aspects of the writer’s urban imagery are conceptualized with a focus on his central experiences as an immigrant and a multicultural novelist, whereas the dynamics of urban motives in his texts are researched as an important idio-stylistic and cultural matrix. While already available research on the theme served as a background to the investigation, the presented paper incorporates an extended material containing prose and poetry created both before and after the writer’s immigration from Morocco to France. Such an urban imagery is studied in relation to some essential components of the author’s narrative identity that was constructed in the process of always controversial, partially dramatic experience of his immigration. For the aims of the research, we recur to historical and cultural explication, as well as consider methodology related to the theory of intertextuality, hermeneutics, narratology, and psychoanalysis in the article. The results found in the course of the study allow making several conclusions. In the first place, we conclude that urban space in Ben Jelloun’s texts before emigration is represented as a significant cultural matrix that enables the writer’s reflections on historical and urbanistic traumas within colonial, postcolonial, as well as imperial rules in North African Maghreb and in Middle East in the second half of the twentieth century. Secondly, urban texts of Ben Jelloun as an immigrant writer testify a period of spiritual crisis in his writing career when being read as a man’s estrangement from the city, a breach between tradition and modernity, past and present, a postmodernist deterritorialization, and, at the same time, a simulacrum of being. Furthermore, it is found that a widespread motive of wandering in a multifaceted city without itinerary or support in Ben Jelloun’s urban texts is rooted in his personal psychologic gestalt, namely a dramatic experience of rupture with the native land after exile and an insatiable desire to reach it as a promised earth forever lost. In continuation, it can be declared that memory and oblivion are two powerful driving forces, indispensable modes of Ben Jelloun’s traumatic quest that make his urban texts appear as rather melancholic and nostalgic palimpsest of memories belonging to a vagabond in between lands and cities, which is de facto the writer’s autofictional hypostasis moreover mirrored by marginal characters and masks numerous in his texts. Finally, it can be concluded that as a multicultural writer, figuratively – a cultural translator – Ben Jelloun makes a special emphasis on a disabled authenticity and originality of those Moroccan cities that were largely damaged by colonial and postcolonial rules or reconstructions. At the same time, the writer parallels them to traumatic post- civil war transformations that took place in a range of oriental Middle East cities of Liban, Syria, Palestine, etc. bringing their depictions to dramatic, mostly apocalyptic dimension.

και φτερά: Ο μύθος της Οδύσσειας στη λογοτεχνία και στον κινηματογράφο του μοντερνισμού by Maria Oikonomou

Reviewed by: και φτερά: Ο μύθος της Οδύσσειας στη λογοτεχνία και στον κινηματογράφο του μοντερνισμού by Maria Oikonomou Victoria A. Reuter (bio) Maria Oikonomou (Μαρία Οικονόμου), και φτερά: Ο μύθος της Οδύσσειας στη λογοτεχνία και στον κινηματογράφο του μοντερνισμού [Oars and wings: The myth of the Odyssey in the literature and cinema of modernism]. Athens: Nefeli. 2016. Pp. 352. Paper €21.50. I spurred my comrades with this brief addressto meet the journey with such eagernessthat I could hardly, then, have held them back; and having turned our stern toward morning, wemade wings out of our oars in a wild flight —Dante, Inferno, 26: 121–125 (Mandelbaum 1980) In Maria Oikonomou's Κουπιά και φτερά, oars and wings are more than a titular reference to Dante's Ulysses; they are the central metonymic devices from which her study springs. Oars suggest the modern reader's attempt to navigate the protean slipperiness of myth and its meanings, while wings mark the lines of flight from early versions of the Odyssey. Using postmodern theories of intertextuality and semiotics, Oikonomou's book is one of few works that aims to influence the way we study the reception of classics. Indebted to Michel Foucault and Gilles Deleuze, her rhizomatic approach structures the book into two definable segments: genealogies of Odyssean myth and their modernist remakings. Oikonomou's theoretical and methodological approaches will challenge the reader; yet scholars of myth, modernism, and postmodern theory will find it multifaceted and stimulating. The first section begins with the prelude "Oars & Wings," which broadly defines modernism as an exercise in freedom, a breaking away from contemporary and past realities. The following 50 pages meticulously survey definitions of myth by Niklas Luhmann, Claude Lévi-Strauss, Hans Blumenberg, Joseph Campbell, Northrop Frye, among others, while the latter half follows distinct genealogies of the Odysseus myth. «Το οδυσσειακό μυθικό πεδίο» (The field of Odyssey mythology) maps out the myth's many incarnations in eight subchapters from «Εικόνα πρώτη: Ανθομηρική και αντι-οδυσσειακή» (Image one: Anti-Homeric and anti-Odyssean) to «Εικόνα όγδοη: Η σχολή του Δάντε (και η αγωνία της επίδρασης)» (Image eight: The Dante school [and the anxiety of influence]). With incredible focus and brevity, Oikonomou covers the immoral Odysseus-as-liar (in the traditions of Ovid, du Bellay, and Goethe), as well as allegorical renderings, including an excellent section on Dante's φυγόκεντρη [End Page 220] (centrifugal) Odysseus, which is juxtaposed with the νόστος (homecoming) obsessed hero. The seventh subchapter nods to English translations of the Odyssey (Chapman, Pope) and their roles in shaping the hero's iconography as an exemplary, likable champion. Oikonomou also catalogues several instances of theme-clusters in other language traditions, such as Nausicaa in German (Goethe). The introduction to the book's second section, «Ρήξεις και ανατροπές» (Ruptures and reversals), contextualizes anxieties around the field of reception. It introduces her argument: these modernist renderings of the Odyssey myth (James Joyce, Jean-Luc Godard, Stanley Kubrick) create a radical poetics. They do not dismantle or imitate classical myth but redefine modes of expression through the creation of new forms both literary (Joyce) and cinematographic (Godard, Kubrick). In the first and longest of these three author studies, Oikonomou approaches Joyce's Ulysses as a hypertext that sends the reader elsewhere, constantly offering other lines of inquiry. Oikonomou revisits extant theories on Joyce's narrative technique, such as parallax and the subjective, often dissonant narratives of the novel's protagonists (Molly Bloom). She draws the reader's attention to the parallel constructions and dialogues between Joyce's novel and developments in theory (Ferdinand de Saussure and Friedrich Nietzsche), as well as literature and technology (Jacques Derrida and the gramophone). The chapter also offers close readings of particular episodes and symbols in Ulysses, devoting sections to Proteus, Aeolus, the Wandering Rocks, the Sirens, and Penelope. Transitioning from literature to film, Oikonomou argues that—like Joyce's Ulysses—Godard's film Le mépris (Contempt) severs the umbilical cord between myth and mimesis. For the uninitiated, Oikonomou presents an excellent overview of Godard's place as an innovator of modernist film (including montage, contradiction, interruption, synecdoche) and draws connections to theories and potential modes of interpretation: Derrida (interstitial), Foucault (heterotopia), Mikhail Bakhtin (polyglossia). She argues that Godard makes synecdotal use of myth through multiple series of images and color (reminiscent of Paul Cézanne's A Modern Olympia [1873–1874]) to create a visual poetics. The end of the film, the blank screen, is not (only) the blank page, the abyss, but...

“Sailing towards Poland” with Joseph Conrad by Jean M. Szczypien

Reviewed by: “Sailing towards Poland” with Joseph Conrad by Jean M. Szczypien Mark D. Larabee (bio) Jean M. Szczypien. “Sailing towards Poland” with Joseph Conrad. New York: Peter Lang, 2017. xx + 269 pp. ISBN: 9781433127526. Jean Szczypien’s “Sailing towards Poland” with Joseph Conrad begins by pointing to a puzzling contradiction. On one hand, as Conrad declared in 1915, Polish literature was “everything” for him (1), the foundation of his upbringing. On the other hand, curiously, references in A Personal Record to what he had read in his youth omit the Polish authors who supposedly had meant so much to him. Readers of Conrad not already familiar with Polish literary history (or scholarship in Polish) may well miss this contradiction, whose key this book so artfully discloses: how subtly but thoroughly Conrad wove Polish sources into his writing and his life. “Sailing towards Poland” charts a course of hidden links between Conrad and Poland that winds through history, biography, texts, and intertexts. As a result, Szczypien shows how recognizing Conrad’s Polish literary references opens new insights into his authorial practices and literary themes, as well as his sense of identity and Polish nationhood. Szczypien takes the title of her book from a letter that Conrad wrote to his father’s friend Stefan Buszczyński in 1883, in which he recalls Buszczyński telling the young Conrad on his leaving Cracow, “wherever you may sail you are sailing towards Poland!” Conrad in return declares in his letter (writing in Polish), “That I have never forgotten, and never will forget!” (3). Szczypien’s extensive research unearths those memories not just by establishing lines of influence or cataloging allusions per se, but instead by capitalizing on theories of intertextuality articulated by Michael Riffaterre and Julia Kristeva. For example, it was as early as 1960 that scholars first noted “reverberations” or “verbal echoes” of Adam Mickiewicz’s patriotic narrative poem Konrad Wallenrod in Almayer’s Folly (33). However, Szczypien broadens our view by situating Conrad’s first novel alongside Mickiewicz’s poem, A Personal Record, and Virgil’s Aeneid. In so doing, she indicates something larger than thematic parallelism at stake: what Riffaterre, in Fictional Truth (1990) calls “the truth of the text” (Szczypien 41). In general, this truth in Conrad’s writing emerges through mechanisms of symbolism activated by those seemingly unobtrusive references to subtexts. For Szczypien, consequently, in the case of Conrad’s echoes of Konrad Wallenrod he signals “resolutely, if indirectly, that he, too, is serving his fatherland” through a “mission” as “divine” as Aeneas’s (38). In such a reading of “hidden treasure” (42) concealed in Conrad’s work—representative of this volume as a whole—Szczypien fills in gaps in earlier [End Page 198] studies and suggests answers to questions previously left unresolved (such as why, for Ian Watt, Conrad treats Almayer unsympathetically). Just as the Aeneid reverberates in Almayer’s Folly, as Szczypien goes on to show, the Iliad resounds in Lord Jim via Alexander Fredro’s play Zemsta (Revenge), which Conrad may have seen performed in 1871. To elaborate these connections, Szczypien’s analysis ranges across such an array of materials as previous criticism of Lord Jim, Apollo Korzeniowski’s poetry, and characters in Revenge; images of Conrad’s manuscript; an 1807 allegorical portrayal of the partition of Poland; and Andrzej Wajda’s 2002 film version of Fredro’s play. The result not only revises our understanding of Stein—“not as cultured and erudite but as a talkative, ridiculous figure whose decisions produce catastrophic results” (51)—but also furthers other revelations: of Conrad’s critique of Romanticism, his praise of the “grand dignity of his father and Romantic patriots like him” (Szczypien 68), and his disapproving attitudes towards Tadeusz Bobrowski. In a characteristic move that “[makes] possible an otherwise unacceptable metaphor” (Riffaterre 147), it is only through the workings of intertextuality that Conrad could critique Bobrowski by way of Stein (Szczypien 68). The consequences of Szczypien’s study of Almayer’s Folly grow from her close examination of the single phrase “It has set at last.” Throughout this book, Szczypien works outward from such potentially inconspicuous but crucial pieces of evidence. “Sailing towards Poland” is thus...

DEKONSTRUKSI STRUKTUR PENCERITAAN DALAM NOVEL AROK-DEDES: KAJIAN INTERTEKSTUAL

This research aims to understand the meaning of the concept of a transformation work in the era of globalization, namely the novel Arok-Dedes that took the background of Pararaton folklore creation. The novel of Arok-Dedes fought against the characterization of the characters and events in the Pararaton folklore. Thus, the problem is the deconstruction of narrative structures or storytelling structures. The novel was analyzed using the intertextual theory with qualitative methods. The result of the research shows that Arok-Dedes novel is a social critic aimed at the New Order ruler. On the basis of the text of transformation, the state of Indonesia requires a wise leader figure, concerned with the welfare of the people, not self-interest or group interests alone. In the era of globalization, selecting a state leader must be selective, it means having to look at the back-ground of his life, his descendants, his behavior; a leader may not be selected through coup d’etat, treason or passing the buck.

Uma transposição luciferina de Hellblazer/Constantine: dos quadrinhos para o cinema

The article intends to focus on the process of translation/adaptation of the sequels of Hellblazer , published since 1988 until now, for the movie Constantine (2005), directed by Francis Lawrence. It discusses the theme of seduction for the hellish visions and devilish pacts, a phenomenon that for many centuries has permeated the Christian imaginary and whose images have been exploited by the cinema industry. The philosophical motivation of this text comes from Vilem Flusser´s book, The Devil History . The theoretical frame includes the concept of translation as “transluciferation” (Haroldo de Campos), the studies by Lotte Eisner and Gilles Deleuze about the German expressionist cinema, and the theories of adaptation and intertextuality, as well as the researches by renowned authors in the field of Comic Books and Cinema. Keywords: movie, Comic Books, adaptation, faustian myth.

Inter-textual Analysis of Political Discourse in Party Manifestos

Political discourse is inarguably deemed an essential tool, influencing people’s perception within a socio-political zone in an imperceptible manner. The present research titled “Inter-textual Analysis of Political Discourse in Party Manifestos” revolved around a critical discourse analysis of manifestos, as presented by five most popular Pakistani political parties, pertaining to the general election, held during the year 2013. With regard to the present context, the mentioned pursuit primarily aimed at linguistically analyzing the political discourse of the aforementioned manifestos at inter-textual level. The theoretical framework used to substantiate the overall analysis centered on Fairclough’s theory of intertextuality (1995) and van Dijk Ideological Square(2004). The findings of the research revealed that all the political parties under study, brought into use the discursive strategy of intertextuality in their party manifestos in order to enhance the positive self image of party to in-group people, by hunting the negative aspects of the out-group, thereby (re)constructing people’s political identities and ideologies and achieving the desired hegemony in a way peculiar to itself. Research of the kind can be conducted further by analyzing the other dimensions of political discourse and the resultant ideologies, influencing the current state of affairs as prevalent around the globe with special focus on the linguistic aspects of the political discourse.

«Тарас Бульба» Н. В. Гоголя и «ХаджиМурат» Л. Н. Толстого (аспект историософии, исторической поэтики и интертекстуальности)

This paper is based on three major premises derived from philosophy of history, historical poetics, and theory of intertextuality, which are seen as interconnected. Taras Bulba and Khadzhi Murat inherit different forms of epic writing from archaic ones (e.g. epic poems) to heroic ones (e.g. sagas, bylinas, chivalric romance, etc.). Some variations and distant derivatives of these multiple forms (e.g. tales about bogatyrs, Orlando Furioso by Ariosto, Alonso Quijano by Cervantes, ballad, historical novella, etc.) are related to some extent to the given texts by Gogol and L. Tolstoy.

Film and Literature: the process of transposition

The present study examines how literature and film are interrelated. It shows that some writers and novelists have inspired by the works of cinema particularly at the beginning of the twentieth century. Adaptation has been utilized to stress on realizing the strategy used by narrative and film. We have seen how the theory of intertextuality persists that text cannot exist as a self-sufficient whole. Literature needs words to express about feelings and issues of community, cinema needs devices and techniques to be applied to produce film to be closer to audience and people.

Rab Ne Bana Di Jodi and A Little Things Called Love in Kristeva’s Intertextuality

<p>The aim of this research is analyzing the phenotext, the genotext and finding the reason the symbol of culture which significance in modern era. Theory of intertextuality and semiotic are displayed to help this research. Phenotext and genotex are the part of intertextuality used in this research. Phenotext is a pattern which can be linked to the communication from subject to addressee. To find the data the researcher needs to choose what kinds of utterances in verbal form from the scene of both movies. The utterances can be find how the main character (subject) is faced with their pairs (addressee). In genotext, genotext is in a text points out the transfer from drive energy (body movement) includes the intonation or rhythm. The researcher can find how the main character articulates the structure which correlates with the physic structure such as body movement that belongs to symbolization of feeling expression and act. The data is taken from the scenes of Rab Ne Bana Di Jodi and A Little Things Called Love movies. The instrument of data is documentation The results of the study; in phenotext there are some dialogues used by the main character in verbal form, in genotext there are some visuals formula romance of in expressing the feeling with physic structure of both movies, and symbol of culture used by the main characters becomes the way of western for changing the mindset of Asian to follow their culture.</p>

An Intertextual Perspective of the Cultural Images in Chinese Tang Poetry and American Imagist Poetry

To probe into the relationship between the cultural images in Chinese Tang Poetry and those in American Imagist Poetry, this paper initially works out a definition of the cultural images, and then refers to Julia Kristeva’s theory of intertextuality, holding that even though Chinese Tang Poetry and American Imagist Poetry are two distinctive poetic systems, the cultural images within the two systems do share certain striking poetic qualities and are essentially intertextual. Apart from the discussion about the possibility of fulfilling intertextual thoughts into the analysis, the paper points out that the cultural images are the quintessence of Chinese and American history and they serve as the mediators of transforming the corresponding Chinese and American traditions. Obviously, intertextuality offers a unique perspective to examine the two different national cultural images. And frankly, the study is just under way.

Transforming Sylvia Plath through Contemporary Chinese Women’s Poetry

The introduction and translation of Sylvia Plath’s (1932–63) poetry into Chinese in the 1980s had a significant impact on women’s poetry in contemporary China, particularly the work of Zhai Yongming (b. 1955) and Lu Yimin (b. 1962). Expanding on Lawrence Venuti’s theory of translation and intertextuality, this article explores the relationship between Chinese translations of Plath and the poetry of Zhai and Lu. It examines four sets of Plath translations and the accompanying paratextual commentaries, demonstrating how Plath’s Chinese translators inscribe their individual interpretations onto their translations. It shows how these texts are integral in shaping the early poetic output of Zhai and Lu, who further recontextualize Plath through their own poetry, revealing how Plath has been understood, evaluated, and transformed in contemporary China. Ultimately, this process results in a bold new gendered poetics that marks a turning point in Chinese women’s writing.

Intertextual Weaving in the Work of Linda Lê: Imagining the Ideal Reader. By Alexandra Kurmann

Intertextuality is particularly integral to Linda Lê’s œuvre, and more studies exploring in detail the multidirectional web of influences operating in Lê’s writing are long overdue. Alexandra Kurmann’s contribution focuses closely on what she describes as the ‘conspicuous discursive influence’ (p. 2) or ‘dialogism’ (p. 3) in the intertextual relationship between Linda Lê, a Paris-based contemporary Vietnamese author writing in French, and Austrian post-war writer Ingeborg Bachmann. Kurmann’s research reveals this sororal literary bond to date from as early as 1989, Lê’s intertextual commitment to Bachmann spanning sixteen years in both her fiction and non-fiction. This revision of the timing of Bachmann’s influence to a point when Lê famously rejected her first three texts, and experienced a literary rebirth, underpins Kurmann’s argument for a Bachmann-inspired feminist ethics in Lê’s writing since 1989, focalized around the figure of Antigone: ‘an Antigonean rhetoric in Lê’s œuvre is nourished by her readings of Bachmann’s feminist fiction’ (p. 2). Lê is seen as feeding her own self-creation project through Bachmann’s Antigonean figures, thereby inscribing herself symbolically into Bachmann’s literary community of exilic writers. The influence, however, is not unidirectional, and Kurmann posits that the purpose of Lê’s essay, ‘“J’écris sur la nature du feu”: Ingeborg Bachmann, Malina, Requiem pour Fanny Goldman, Franza’ (Critique, 47 (1991), 846–54), is to inhabit the same textual space as her predecessor: ‘Indeed this transitional space of the text is where Lê […] and Bachmann […] may for a short time remain in close contact with one another’ (p. 60). Kurmann thus reveals how a web of women speak to each other through the text, or in the literary space: Antigone; Bachmann; Bachmann’s self-destructive female protagonists; Lê; Lê’s own self-destructive female protagonists; and the many women readers of these writers’ texts. Drawing on Julia Kristeva’s theories of intertextuality, Kurmann argues for the reciprocal effect of this long-standing relationship. She uses Lê’s critical essays on Bachmann in order to reread Bachmann’s fiction, in particular her novel Malina (1971), and also to argue that Lê rereads (or perhaps rewrites) the Antigonean gesture of suicide to impute agency into this voluntary death that allows the woman to whisper truths from beyond the grave: ‘the ancient voice of a universal female figure’ (p. 69). The voice, as the bond, is one of sorority and resistance, which makes it a shame that Kurmann relies at all on Harold Bloom, given his focus on the Oedipal, as she herself points out, and her use of Kristeva is more convincing. For scholars drawn by the title’s focus on Lê’s work, there may be more (and less) than they bargained for, as the reading of Malina overshadows the analysis of Lê’s fiction, and it is a pity to have foreclosed the parameters of the study at 2005, when texts such as In Memoriam (2007) and Cronos (2010) contain undeniable echoes of both Bachmann’s and Antigone’s voices. Nonetheless, well researched, intelligent, and at times elegant, this book enriches our understanding of these important writers, and takes Lê studies beyond familiar themes of exile, loss, and postcolonialism to a timely recognition of her implicit feminist ethics.