Literary Intertextuality Research Articles

THE INFLUENCE OF BRIGITTE REIMANN'S FRANZISKA LINKERHAND ON THE POLITICAL SONGS OF GERHARD GUNDERMANN

ABSTRACTGerhard Gundermann was an East German open cast miner and ‘Liedermacher’ who died prematurely in 1998 at the age of forty‐three. Although he is known for his controversial involvement with the Stasi in his early career, very little has been written about his art, including the ‘Liedertheater’ work he performed with Brigade Feuerstein in the GDR. This article looks at the role of literary intertextuality in the productions of this group between 1978 and 1988. It specifically examines Gundermann's connection with Brigitte Reimann's socially critical novel Franziska Linkerhand, particular themes from which recur in his songs and theatrical scenes. These include ‘waiting’, as Gundermann and his contemporaries struggled to assert themselves, faced with the older generation's stranglehold on power and information. The Brigade Feuerstein productions will be examined against the background of Gundermann's own protracted conflict with the Sozialistische Einheitspartei Deutschlands (SED) in the years 1978 to 1984. Another theme of Franziska Linkerhand which appears in his work are the portraits of characters from the margins of society that conflict with ideal heroic depictions of workers as propagated by the SED. In the final decade of Gundermann's life, society's ‘losers’ continue to be portrayed in songs such as ‘Und musst du weinen’.

Intertextuality of selected Arabic and Western literary works

This paper conducts a comparative analysis of the literary-cultural impact of Arabic literature on Western literature. This research focuses on three literary comparisons taken from works that belong to Arabic and Western literature by means of a qualitative and quantitative analysis of the target textual data. The study chooses to address the following items: the Spanish play by Lope de Vega (1562-1635), La Doncella Teodor which has a similar Arabic version among the Arab tales of the Arabian Nights, the literary influence of the story of Zarqa al-Yamamah on Shakespeare’s play Macbeth and the literary mirroring of the Arabic story of Solomon and the Angel of Death onto Marquez’s novel Flee to Samarra by unveiling the aspects of the literary impact of each Arabic literary item. The study illustrates elements of intertextuality and functionality that close the gap between text and culture on each spectrum as well as between the Occident and the Orient by looking at the degree of similarity between these stories. This study contributes to offering insights into the literary intertextuality between Arabic literature and Western literature (Spanish and English) while also sheds light on the cross-cultural perceptions between the two forms of literature by examining the textual, cultural and psychological aspects of each extract compared with each other.

The Tree "Yggdrasil" as a Symbolic Key to the Interpretation of the Novel by Mark Z. Danilevsky's "House of Leaves"

The object of research in this article is a novel by Mark Z. Danilevsky's "House of Leaves" in the context of postmodernism. The subject of the study was the mythical element of the novel (ash Yggdrasil). This element is considered as a hermeneutic key to the interpretation of the novel by Mark Z. Danilevsky's "House of Leaves". Also, the subject of the study is space and time in the novel, inextricably linked with the mythical component of the works. As a result, a detailed analysis of the mythical component of the "House of Leaves" is given in the context of the poetics of postmodernism, as well as some characteristics of the space-time of the novel. Hermeneutical interpretation is performed using the poem "Yggdrasil", located on the last page of the novel, as a symbolic key. The grapheme "Yggdrasil" and the symbolism of the components of the limit tree in their relation to the exemplification of the structure of the novel as a whole are analyzed. The mechanism of the inclusion of the work in the context of world literature is described through the actualization of semantic and etymological inclusions of mythical motifs about the creation of the world in the text of the "House of Leaves". The analysis of intertextual references to Egyptian mythology through the symbols of the ouroboros and the solar disk is given. The plot of the path of the sun god Ra in the "House of Leaves" is analyzed. The novelty of the research lies in the fact that we have analyzed the symbolic detail in the novel: the hidden symbolism of the "Ash Tree" as the tree of the limit; elements of biblical mythology; the image of the inverted world; labyrinth, stairs. The interpretation of the work as a model of the world is considered, where the ambiguity of mythological and spatio-temporal layers, based on the inevitable symbolic references-threads, function as an instrument of appeal to the cultural unconscious. The connection of the mythologies of Egypt, Tibet, the texts of the "Upanishads" and "Kabbalah", as well as the artistic and literary intertext with the "House of Leaves" is analyzed. As a result of this hermeneutic analysis, an ironic postmodern interpretation of the work of Mark Z. is described. Danilevsky through the symbolism of emptiness (unselfishness).

“HOROSHI HLOPTSI FINISHUYUT PERSHYMY”: INTERTEXTUAL AND INTERMEDIAL PECULIARITIES OF NARRATIVE POETRY OF LYUBOMYR SERNYAK

The article – in fact – is an attempt to analyze intertextual and intermedialpeculiarities of the edition “Horoshi Hloptsi Finishuyut Pershymy” by Lyubomyr Sernyak (2018). The edition is considered to be a unique example of contemporary artistic artefact, which consists of narrative poetry (verbal component) and illustrations / cover (graphic component) by means of which the textual field is extended, as graphic decoration of the edition, obviously, repeats, strengthens and broadens the margins of senses and artistic world of the poems. By the way, the research focuses on the fact that the urban space plays an important role (especially – subway topos) as it deals not only with the setting of the book but it influences its architectonics, even more profoundly – it creates a cultural context of the edition as a whole artistic artefact. It is stressed that the study deals with a contemporary narrative poetry, plainly, story as a “trip” with its own system of characters and plot on the pages of a fore-mentioned poetry edition. It is highlighted that intertextual and intemedial dimensions of the edition are so closely connected that it can be stated that it may be called the diffusion of intertextual and intermedial features and connections of the edition. The intertext is represented both in verbal and graphical layers of the texts: personality-references or graphic artefacts sometimes become quasi-characters of the edition with their unique “voice” and features in imaginary and expressive levels of the text. As for literary intertext, it is broad: mostly it deals with Ukrainian futurism, the writers of the period of the Lost Generation, Franz Kafka and the others. In spite of just literary references the poems of the edition “Horoshi Hloptsi Finishuyut Pershymy” are filled with the allusions to fine art (“Lovers” Rene Magritt, “Guernica” Pablo Picasso), poster art (American poster art of the mid-XXth century), music (jazz and John Cage), games (Super Mario), performances (sport shows, John Cage) etc. Actually, all of these peculiarities create a cultural context of the narrative poetry of Lyubomyr Sernyak, that is the mixture of mass and elite culture, blurring their borders. It is remarkable that frequently the references are duplicated, or the allusion is double, not only referring to an exact text or to the author, but both of them. Some of the artistic artefacts are stressed and pointed out several times in the texts of different poems throughout the book. The specific of these intertextual-intermedial connections is the central problem of this short research.

Images of intertextuality in the novel “The Waste Paradise” by the writer Laila Al-Juhani - an applied structural study

Intertextuality is one of the terms of the structuralism, which indicates the nature of texts, and also refers to the culture of the writer, and enriches the semantic value of the language in the new text and its narrative frameworks, especially in the art of the novel, which extends in its temporal and spatial horizon and the number of pages over a long period, so intertextuality becomes more present. It is clear to both the educated reader and the researcher. Hence this study that explains the forms of intertextuality in the novel “The Waste Paradise” by the Saudi writer Laila Al-Juhani, as her novel has a vast narrative space, containing different types of intertextuality in particular, that are in harmony with the story of the novel and its events on the one hand, and develop semantic depth, or It conveys it in a highly artistic and beautiful way on the other hand, and demonstrates the extension of some meanings historically on the third hand, and explains some human events on the fourth hand. The most common types of intertextuality in the novel “The Waste Paradise” are: historical intertextuality, literary intertextuality, religious intertextuality, and artistic intertextuality. The study was keen to include the original text from which the author quoted the texts of her novel in a clear manner in the text, and by extracting each text in a systematic and transparent manner in the footnotes as well. In order to ensure scientific accuracy and credibility in the research, the study ultimately concluded with many results of great importance, which the study summarized at the end of the research through a separate section, including but not limited to: The writer employs religious intertextuality, calling for ideals and values that are absent from human reality. Contemporary on the one hand, and you made the narrative more realistic and depictive of life on the other hand.

SLOVENE WOMEN FAIRY TALE AUTHORS

<p><span>The contribution presents female storytellers in different periods and social systems. The focus is on three exceptional individuals. The first is Luiza Pesjak, whose work is characterized by literary multilingualism. Then, in the post-World War 2 period, the less well-known but important storyteller from Resia, Tïna Wajtawa, whose work is also characterized by literary multilingualism, as well as Indo-European motifs. But the most representative contemporary female storyteller is Svetlana Makarovič, who is known not only for literary intertextuality, but also eclecticism, for she has drawn upon numerous languages, literatures and cultures.</span></p><p><span><strong>Keywords:</strong> female storytellers, Luiza Pesjak, Tïna Wajtawa, Svetlana Makarovič.</span></p>

Puer renidens (Mart. Cap. 2.144). Revisited Topos of ‘Two Loves’ and intertextuality

AbstractLove is one of the most frequent literary motifs, often differentiated in various forms. A plurality of words for love in ancient Greek corresponds to a plurality of their divine representations in particular works, and more generally in Ancient religious and philosophical images. The most famous concept is that of the two Loves which is represented in Plato's dialogue Symposium. In the paper, the author revises the standard interpretation of the ‘Two Loves Topos’, considered in Mart. 2. 144–148, literalized as the presence of Amor and absence of Cupid in Philology's suite during her journey to heaven, in terms of literary intertextuality. After a brief outline of the literary evidence of the ‘Two Loves Topos’, Martianus Capella's comprehensive picture is analysed, connecting the archaic opposition between Amor and Cupid and the Platonic division to support his compositional intention to create a ‘new’ comprehensive Love god person, who is in accordance with the unified and harmonious world of mythological, cosmological, and philosophical scholarship.

Newman on Art, Imagination, and the Classics: Callista Revisited

ABSTRACT: Despite its popular success during his lifetime, Newman's historical novel Callista (1855) gradually fell out of fashion and is nowadays among one of his most neglected works. Even critics who are sympathetic to Callista cannot help but betray the feeling that the merits (if any) of Newman's second novel are pastoral or apologetic, rather than literary, and that its place in Newman's opus is minor at best. This essay will argue that Callista has been both undeservedly neglected and significantly misunderstood. Callista is an important work, possessing notable aesthetic merits and highlighting Newman's remarkable breadth of literary appreciation. The novel weaves an impressive web of literary intertexts and exhibits a sensitive and informed cross-fertilization between early Christian apologetics, martyr narratives and the Romantic historical novel. Above all else, Callista is a text with a strong meta-artistic dimension. Meaning, it is in the very act of writing the novel that Newman addressed to the issue whether, as a recent convert to Roman Catholicism, he could reconcile or negotiate the classical (pagan) tradition with Christianity. This essay will show the degree to which Callista tracks Newman's developing views on art and imagination, in the early period of his conversion. An attendant hope of this essay is that it can also supply a redressive response to Newman's late complaint that, when it came to Callista , "Catholics have [n]ever done justice to [it]."

Мифопоэтика и художественная интертекстуальность сказки Тамары Крюковой «Узник зеркала»

T. Kryukova’s fairy tale “Prisoner of the mirror”, the central part of the tetralogy about Queen Zlata and Moon Knight, accumulates various mythological, folklore and literary models. It contains various forms of literary intertextuality, the most important role for understanding the hidden meanings of a fairy tale is played by mythopoetic images and representative allusions. The leitmotif of the looking-glass world, which is the main one for the fairy tale “Prisoner of the mirror”, continues the traditions of ancient mythology, and then Russian and European literature of the 19th–20th centuries, representing the world in a reflected form. The phenomenon of the dialogue of text with other texts, proposed by M.M. Bakhtin, makes it possible to reveal the deep content layers of the work in question. The technique of mythological bricolage, which is manifested in the use of characters and plot moves of ancient Greek mythology, makes it possible to demonstrate, according to Bakhtin, the “holiday of the meaning revival”: the characters of ancient myths Pan, Narcissus symbolize the demonic beginning and the hopelessness of sin, with the exception of the nymph Echo, who appears as the personification of selfless love and acts in an unusual role for her mythological status as a magical assistant to children. In the fairy tale there is also a mixture of heterogeneous characters, some combine the features of an ancient prototype and a character of Russian folklore (Odarka). The traditional characters of Russian folk tales (Bear, Fox, Cat) receive a new status of arbiters of judgment and punishment. Reminiscences from the fairy tales of Ch. Perrault and H.-C. Andersen, L. Carroll and V. Gubarev complicate the artistic drawing of the work. The fate theme, fate, which runs through the work, undergoes a serious transformation in the fairy tale. In ancient fate, as the plot develops, the features of divine providence in the Christian sense become more and more distinct. The position of Varga, who denies personal guilt and responsibility for sin, appears as untenable, the image of the Mirror of Judgment directly refers the reader to the ethical teachings of Christianity. Fairy tale discourse allows the author to declare the Christian paradigm of moral values in a complex interaction of borrowed and original characters, motives, plot moves.

ANALYZING INTERTEXTUALITY IN COETZEE’S DISRACE: A POSTMODERN CRITIQUE

This paper aims at analyzing J. M. Coetzee’s use of intertextuality in his most phenomenal novel Disgrace. In postmodern literature, intertextuality plays a fundamental role as postmodern fiction sifts to historical and literary intertexts. Postmodern fiction points to the reality that by means of other texts we understand the past and that there is an intertextuality in all the historical accounts. Postmodern fiction tells us that only through its fragments, relics, and its textualized remains canwe know the past. This paper explores the intertextual presence of romantic poets in the novel and the influence of romantic period on post-apartheid minds. Lurie’s connection with the romantic poets is not of the kind to exchange of sources or sentences to assist his ideas or the transmission of his message rather he is affected to the point that he refers himself to them and follows their concepts of existence, females, history, and longing. Thus, the juxtaposition of Wordsworth, Byron and David Laurie will form the basis of this paper.

The Literary Intertextuality in Aram Kakai Fallah Stories

Intertextuality is opening a new gate towards the literary text and identifies its relation with/to the previous rich fortune and its contemporary one. (The Literary Intertextuality in Aram Kakai Fallah Stories) is the title of this study which tries to explain the educational, experimental and technical levels of the story writer with the external intertextuality. Further, it specifies the most important literary intertextuality. The study is composed of two parts the first of which briefly introduces the literary texts then explains the emergence and the concept of intertextuality. Later, a glance is given to the types and techniques of intertextuality. In the second part according to the period of publishing the story and group of stories, the literary intertextuality is identified. Likewise, the most important techniques that are used by the story writer in the literary intertextuality are identified.

Intertextuality in Adnan As-Sa'igh's Poetry

This paper is a study of intertextuality, both linguistically and idiomatically showing the classical and modernist critics' opinion concerning it, and then it is applied on the poems of the Iraqi contemporary poet of the young generation: Adnan As-Sa'igh. The paper tackles the religious intertextuality which is subdivided into two sections: Qur'anic intertextuality and other Holy Books intertextuality. The paper then sheds light on the literary intertextuality by defining this term and term extracting the lines in which there is such intertextuality. The paper also explores the historical intertextuality and the historical events the poet cited in his poems. The last part of the paper is devoted to the folkloric intertextuality which is one of the topics the poet made use of to enrich his poetry by endowing it with a social atmosphere which reinforces his argument.

There is a poet underneath here: Louise Bourgeois’s Unknown Masterpiece 1

Through a focus on ‘Moi, Eugénie Grandet’, one of the last exhibitions Louise Bourgeois worked on before her death in 2010, this article explores the artist’s writings, both public and private, and her interactions with writers, to assess the potentially literary nature of her written and visual works. Arguing that Bourgeois’s dialogues with Honoré de Balzac’s novel Eugénie Grandet is a contemporary and feminist response to a longstanding tradition of pictorial appropriations of Balzac’s work—from Paul Cézanne’s ‘Frenhofer, c’est moi!’ to Pablo Picasso’s illustrations for the centenary edition of Balzac’s The Unknown Masterpiece—this article brings to light a literary intertext to Bourgeois’s visual works and contends that it is a crucial aspect of her œuvre. Reckoning with a growing critical interest in the artist’s archives and a rising number of edited volumes devoted to her writings, this article considers existing claims that identify Bourgeois as a writer and a poet. Aligning with Roland Barthes’s definition of the literary text as a ‘new cloth woven with old quotations’ and the figure of active reader developed in Barthes’s own dialogues with Balzac, this article contends that Bourgeois’s literariness is found in simultaneous writing, reading and visual practices and in the ambivalence—between dependency and resistance—towards the words they rely on. Ultimately, this exploration of Bourgeois’s words participates in a wider debate on the status of artists’ writings, first articulated in Linda Goddard’s 2012 special issue of this journal, where they are defined through their ‘heightened awareness of the inescapable tensions and crossovers between practice and discourse’ and the way they ‘bear the trace of this consciousness’.

Novel Traces of the Qur'an?

Novel Traces of the Qur'an?

Functions of Intertextuality in Some Extracts of Modern Arabic Novels.‎

‎ Intertextuality can basically be defined as the influence and existence of previous texts or ‎speeches in the construction of present one. The current study tackles the problem that ‎determining the functions of the intertextual elements helps in better understanding and ‎interpreting of literary texts. Thus, not well-equipped readers of intertextuality and its functions ‎get problems in interpreting and understanding some texts filled of such functions. The present ‎study aims to: firstly, investigate the intertextual types in some Mahfouz’s novel, namely,‎‏"‏Khan ‎al-Kahlili‏"‏‎ (1946), "al-Midaq Alley" (1947) and "Awlad Haratina" (1959), secondly, look at ‎the functions of intertextuality in the three novels under focus. The hypotheses the present study ‎puts forward are as follows: firstly, realizing functions of intertextuality is a crucial element ‎contributes for better understanding different layers of a literary text. Secondly, intertextuality ‎enhances and enriches the aesthetic structure of literary texts. As for the analysis of data, the ‎study has adapted Ahmed’s model (2010). Accordingly, intertextuality is divided into three ‎main types, namely, religious intertextuality, literary intertextuality and other types of ‎intertextuality. It is found that intertextuality is utilized by writers for: communicative, rhetorical ‎and aesthetic functions. It is also discovered that intertextuality is a useful strategy employed by ‎text producers.‎

Intertextuality in Pratchett’s Novels: Types, Subtypes, Means of Manifestation

. The research is concerned with the comprehensive intertextuality of T. Pratchett's “Discworld” – a cycle of fantasy, representing a multifaceted parody of the fantasy, detective, scientific, mythological, cinematographic, and other texts and genre. The purpose of the paper is to identify various types, subtypes and functions of intertextuality as well as the verbal means of its manifestation in texts under consideration. To achieve the purpose, the study applies the methods of intertextual, textual-interpretational, hyper-textual and stylistic analyses. The main findings are as follows. The Pratchett’s novels encompass all known types of intertextuality: text-text, text-genre, and text – cultural context, including intertextuality references to the literary texts, to non-literary texts and discourses as well as to other semiotic systems, such as painting, sculpture, music, films, comics. Intertextuality and its conveying devices perform a set of different functions, including parodic, semantic, stylistic and structural - compositional . The most frequent sources of literary intertextuality in Pratchett’s novels are references to the works of Shakespeare, Tolkien and other writers, as well as to ancient and archaic mythology, primarily ancient Greek, ancient Egyptian and Indian cosmology. Sometimes one allusion creates a special allegorical framework for another, more specific allusion, based on intermedial sources – films, cartoons and different types of art. The identified intertextuality devices include f ull quotations, paraphrased and humorously reinterpreted idiom-precedent phenomena, precedent names as well as the names of theories, games, computer programs, etc. The revealed markers of intertextuality can be both unchanged and modified, altered. In the wider context of the novels the intertextuality devices sometimes acquire new denotative or connotative meanings. In addition to intertextuality references the paper identified in Pratchett’s Discoworld the means of hypertextuality and architextuality.

Borges, Buddhism and World Literature: A Morphology of Renunciation Tales

Within the revival of World Literature Studies, the oeuvre of the Argentinian writer Jorge Luis Borges has performed a variety of roles. In his seminal essay, “The Argentinian Writer and the Tradition,” Borges can be seen as a Latin American cornerstone in the defense of the periphery's equality to the center; in “The Translators of The 1001 Nights,” Borges acts as a precursor to the cultural turn in translation studies and to the notion that world literature is one that gains in translation; in a plethora of other works, Borges intertextualizes world literature, whether through his interpretation of Kafka's works, his essays on Dante's Commedia, or his interest in the Kabbalah.In her fascinating new study, Borges, Buddhism and World Literature: A Morphology of Renunciation Tales, Dominique Jullien, who is professor of French and Comparative Literature at the University of California at Santa Barbara, convincingly makes the case for yet another role that Borges is perfectly fit to play within World Literature Studies: that of continuator and further disseminator of the Buddhist Renunciation Tale as a morphological archetype in fictional literature. Jullien considers the aesthetic and political implications that the renunciation tale has on his work, first by reading Borges's own interest in the archetype against the background of the rise of Peron's left-wing populism in Argentina during the 1950s—the decade that Jullien sees as Borges's Buddhist decade—and then by proceeding to tease out the implications that the renunciation tale has on Borges's own philosophy of literature as seen in multiple examples of his vast oeuvre.Thus, Jullien's book reframes Borges as a significant node in the propagation and creation of a literary intertextuality that has its origin in the story of the historical/fictional Buddha—a story Borges detailed in the cowritten book What Is Buddhism? (1976). Jullien argues that the renunciation archetype extends down history and is present in the renunciation parables found in the work of modern and contemporary authors from around the globe.The book's introduction provides one of the most concise and yet rigorous compilations of past scholarship on Borges's relationship with Buddhism. As multiple scholars have argued, what for Borges started as an early interest in East Asian literature and philosophy developed during the 1950s into an ultimately lifelong fascination with Buddhism and Zen aesthetics that became increasingly prominent in his texts written during the 1970s and 1980s. Jullien's objective in the chapter is not to trace the origins, acuity, or fidelity of Borges's knowledge regarding Buddhism and its many schools. Rather, as is the point of the whole book, the goal is to shed light on the “ways in which the Buddha triangle, pulling together Buddhism, Schopenhauer, and Idealism in a shared negation of the individual self, yielded a serviceable pattern to decades of Borgesian stories, poems, and essays” (xviii).Chapter 1 traces Borges's essays on Buddhism and their relationship to Borges's cosmopolitan ideal. The end goal is the outlining of a “Borgesian Weltliteratur” that Jullien relates to Goethe's idea of world literature as a morphological phenomenon and to Vladimir Propp's notion of folktale morphology. A Buddhist tale of a king who renounces his kingdom in order to live as a hermit reappears in different literary iterations around the world, a fact which, Jullien argues, dovetails with Borges's own “view of literature as transmigration and circulation of fables and metaphors across time and space” (20).Chapter 2 focuses on the morphology of the renunciation tale in its political dimension. Jullien contextualizes the possible didactic and prescriptive readings that such a philological unit can possess. After an exploration of the historical background out of which such stories emerged, Jullien explores how the tensions between the worldly-political and the ascetic-spiritual dyads contained within this archetype emerge in what she terms the Borgesian hypertext, that is, the ever-reemerging texts of world literature to which Borges frequently alludes to in his writing. These encompass works that range from his beloved 1001 Nights to Oscar Wilde's “The Happy Prince.

ظاهــرة التناص في شعــر عبدالله الوشمي

تناولت هذه الدراسة إحدى الظواهر الفنية في النقد الأدبي الحديث ذات الأثر البالغ في التشکيل الجمالي للخطاب الشعري عند الشاعر عبدالله الوشمي ألا وهي ظاهرة التناص؛ حيث استطاع الشاعر أن يعاود قراءة الماضي واستنطاق النصوص في ضوء الواقع المعاصر، وذلک للتعبير عن ما يدور بخلجات نفسه وهموم مجتمعه، وقد اعتمدت الدراسة على المنهج الوصفي التحليلي الذي يبين مواضع التناص من خلال عرض النصوص المتناصة، وتحليلها وإظهار التناص الحاصل فيها وتأتي هذه الدراسة في تمهيد وعدة محاور عرض التمهيد مفهوم التناص لغة واصطلاحا ثم تطرقت إلى مفهوم التناص عند النقاد العرب القدامى، والمعاصرين ثم تناولت مفهومه عند النقاد الغربيين، وأنواع التناص، واختلاف روى النقاد فيه ثم سلطت الدراسة الضوء على حياة الشاعر وأهم المؤثرات التي شکلت تکوينه الإبداعي، وتناول المحور الأول: التناص الديني حيث تناول التناص مع القرآن الکريم، والحديث النبوي الشريف، أما المحور الثاني: التناص التاريخي تناول بعض الشخصيات التاريخية وأفعالها وأقوالها أما المحور الثالث: التناص الأدبي حيث تناول شخصيات تراثية وبعض الشعراء وأنهيت الدراسة بخاتمة عرضت أبرز النتائج التي انتهت إلى أن الشاعر عبد الله الوشمي نوع من مصادره للتناص، وقد تمثل ذلک من خلال توظيفه للقرآن الکريم والحديث النبوي الشريف والأشعار والأمثال التي خرج بها في أغلب الأحيان من دلالاتها الموروثة إلى دلالات جديدة، وأصبح للنص الشعري عنده طاقة تأثيرية في التعبير عن الواقع المعيش وقضايا مجتمعه. Intertextual Analysis in the Poetry of Abdallah Al- Washmi By: Asmaa Bint Saleh Bin Mutlaq Al-Amro Majored in Rhetoric and Criticism Literary Departments Faculty of Sciences and Arts Qassim University Kingdom of Saudi Arabia Abstract This research deals with an artistic phenomenon in modern literary criticism which has a great impact on the aesthetic formation of the poetic discourse of Abdullah Al-Washmi; a Saudi pot. This phenomenon is known as intertextuality and it enabled the poet to re-read the past and extrapolate the texts in the light of the contemporary reality seeking to express what is going on within himself the concerns of his society. The study relied on the descriptive and analytical approaches to trace the places of intertextuality and display intertextual texts and analyze them showing how intertextuality takes place. This research includes a preface and some axes. The preface highlights the concept of intertextuality both linguistically and idiomatically, then it discusses the concept of intertextuality throughout the views of ancient and contemporary Arab critics. After that the research tackles the concept and its types according to the views of some Western critics and how far they differed around its definition. The first axis deals with religious intertextuality as it focuses on the Holy Qur’an and the noble Prophet’s Hadiths. As for the second axis, it is directed to historical intertextuality. It studies some historical figures, their actions and sayings. The third axis is dedicated to literary intertextuality since it sheds light upon selected figures and poets from our heritage. The research concludes with the most outstanding findings. For example, the poet Abdullah Al-Washmi relies on various sources of intertextuality, and this was tacitly represented through his use of the Holy Qur’an, the noble Hadiths, poems and proverbs through which the poet managed to introduce new meaning away from their inherited connotations. In this way the poetic text has attained an influential power that could express the present reality and the issues of its society. Keywords: intertextuality, Al- Washmi, poetry, critics, poetic discourse.

Место проблематики и художественных принципов поэмы Нурдина Музаева «Сурхо, сын Ады» в эволюции жанра в чеченской литературе

The article aims to analyze problematics, structure and poetics of Nurdin Muzaev’s lyric-epic creative work by the material of his poem “Surkho, the Son of Ada” and to identify the place of this poetical text in evolution of the lyric-epic genre in the Chechen literature of the XX century. Scientific originality of the paper lies in the fact that the researcher for the first time considers specificity of folkloric and literary intertextuality of the mentioned poetical work taking into account its storyline and compositional arrangement, system of images, mytho-poetical representation of ethno-mental consciousness. The paper reveals specificity of conflicts and the characters’ images, notes dynamism of the story development, the author’s mastery in creating artistic details and images, the system of figurative-expressive means. Influence of the poem’s lyrical component on its content, poetics and structure is identified.

In Defence of Poetry: Intertextual Dialogue and the Dynamic of Appropriation in Plutarch’s De audiendis poetis

Intertextuality may be defined as the interaction between different texts, a dialogic relationship found especially in literary works and which the reader is asked to decipher. The absorption and tacit transformation of other texts in Plutarch’s work suggests that the intertextuality in De audiendis poetis can be approached as literary intertextuality, making it both critical and creative. The allusion to other texts is the most important thread that weaves argumentative discourse and evidences together, in other words, the benefits that can be drawn from reading the poets.