Textual Phenomena Research Articles

The intertextuality of news headlines in the context of digital media based on the material of the Russian and Chinese languages

The article is devoted to clarifying the general patterns of intertextuality of modern news headlines in Russian and Chinese leading media against the background of globalization, informatization and digitalization. The subject is the intertextuality of digital media news headlines. The material is the headlines of the Russian and Chinese media leading digital information portals for 2023. The scientific novelty lies in the fact that for the first time a comprehensive comparative study was conducted on the main manifestations of intertextuality of world news headlines in modern Russian and Chinese leading digital media. The relevance of the research is due to the fact that digital technologies, hyperlinks, search engines, etc. have created a new unexplored textual reality in which news headlines form links with other texts in the context of the global digital Internet. The main research methods are functional-semantic, interpretative, linguistic and cultural analysis. The method of linguistic commenting was used to explain the headline texts of world news, the culturological method was used to explain the traditions of society reflected in the titles of online news articles. The contrastive method was used to identify common features of the news headlines of leading Russian and Chinese online media publications. The result of the study: intertextuality is characteristic of the news headlines of Russian and Chinese online publications, six main attributes of intertextuality of the headline texts of world news of Russian and Chinese leading digital media have been identified, such as citation, precedent, uncertainty, hypertextuality, polymodality and rhizomaticity. These attributes are widely used in the news headlines of Russian and Chinese digital media. The obtained research results can be the basis for the following studies and used in the practice of teaching university courses in such disciplines as linguistics, communication, cultural studies, political science, etc. The conclusions of the study are that the intertextuality of online media news headlines, as a concentrated manifestation of textual phenomena in the digital age, is characterized by rhizomatic diversity, entanglement, nonlinearity, polycode, openness and dynamism not only at the level of semantics, but also the form of the news headline text.

Understanding and Text Properties: Investigating Readers’ Sense-making Processes

Literary reading and the comprehension of literary text(s) has long been a key part of education. While reading comprehension in general has received a fair amount of attention, empirical research on comprehension processes of literary texts is still relatively rare; and yet, it is advisable to gain a thorough understanding of comprehension processes along with potential difficulties and hurdles to understanding specifically of literary texts. To address this issue, we analyse such comprehension processes in a group of university students of English as a second language, drawing on a test based on Shakespeare’s sonnet 43 which employs standardised, open-ended questions. Our research has two goals: firstly, to analyse readers’ approaches that result in a more or less successful decoding of the text they are presented with, and, secondly, to explore whether different textual phenomena help or hinder understanding. We find that strong and weak readers employ similar reading strategies, they do differ, however, with regard to their literary response, with weak readers more likely to draw on irrelevant associations not warranted by the text. In addition, we are able to show that some textual phenomena are more difficult to understand than others. We discuss possible implications of our findings for teaching.

A Rhetorical Reading of Suzanne Collins’ The Hunger Games

This paper discusses Suzanne Collins’ novel The Hunger Games (2008) in light of James Phelan’s rhetorical model. It explores Phelan’s theory of the reading of narrative as an activity that simultaneously engages the readers’ intellects, emotions, ideologies, and ethics. The paper examines several issues central to rhetorical poetics: reliable/unreliable narrators, narrative ethics, narrative judgments, and narrative progression. It demonstrates how the rhetorical theory of narrative emphasizes the recursive relationships between authorial agency, textual phenomena, and reader response while remaining open to insights from a range of critical approaches such as feminism, formalism, and cultural studies. I argue that the narrator in this novel is largely reliable with only a few cases of slight deviation from the norms of the implied author due to unavoidable lack of cognition or to occasional cases of misinterpretation. The novel contains a powerful communication system that blends fictional and actual audiences into a network of recursive relations based on a multilayered narrative ethics. The paper also shows how the rhetorical model can illuminate and assist in our interpretation of literary texts especially when we view the reading experience as a vital engagement between the reader and the author controlled by an implied author affected by each of them. Keywords: Suzanne Collins, The Hunger Games, James Phelan, Rhetorical Model Scholars.

Toward a non‐binary semiotics of intersectionality: linguistic anthropology in the wake of coloniality

AbstractThis special issue proposes a non‐binary semiotics of intersectionality to both draw attention to and unsettle binary participation frameworks of “the‐West‐and‐its‐others.” Contributors demonstrate how intersectionality can reconfigure scholarly approaches to the semiotic analysis of social life, expanding the bounds of the ethnographic as both genre and site of ideological work while also suggesting new stakes for conceptualizations of the personal beyond static, neoliberal presuppositions of the identity‐bearing individual. This proposed reorientation has stakes for the study of race–language co‐naturalizations in locations reflexively cast as beyond white settler‐colonial contexts. We place the study of intersectionality within the historical socius of the colonial and its prefixes (de‐, post‐, and anti‐) by engaging with the historical and material conditions of human capital and land enclosure out of which Kimberlé Crenshaw’s micro‐interactional observations emerged as originary reflections on the concept of intersectionality. Together, we consider linguistic and co(n)textual phenomena that are left out of most contemporary intersectional and critical race analyses. The authors demonstrate an array of modalities through which we can analytically separate intersectionality‐as‐method, while not assuming American monolingual racial experiences as universal.

The First Lusophone Author: A Palimpsest Named António Feliciano De Castilho

ABSTRACT The poet António Feliciano de Castilho (1800–1875) sought to create a literary presence beyond the space of the Portuguese metropolis, sometimes in his own name, whereas on other occasions he resorted to the members of his circle, that formed in Portugal and its overseas territories a republic of letters. I will focus on two works by Castilho, Camões and A Felicidade pela Agricultura (1849), which point to a deliberate participation in the emergence of a literary scene in Macau and the Azores (1840s-1850s). The poet is one of the first Portuguese authors to have developed a publication plan that includes the colonial and insular territories of Portugal, a plan linked to the textual phenomenon of incorporating in his works texts by other authors of his group. The aim of this essay is therefore to investigate how the relationship of Portuguese literates from Romanticism to literate communities such as the Azores and Macao allows us to draw a different map of what would later be designated as Portuguese-language literature(s). The theoretical consequences to be drawn from this remapping will shed new light on the ‘formation’ of Portuguese-language literature(s) and also call for an urgent re-evaluation of Castilho’s oeuvre.

Logical Relations according to De Beauvoir and Their Impact on Achieving Textual Coherence (Usul Al-Kafi as a Model)

Semantic relationships are the concepts carried by the syntactic structures of the text and are an important axis of textual relationships. The continuity and coherence of the text presupposes the existence of this type of relationship between the parts of the text and determines its appearance and unity. Each language has syntactic systems that work towards the text to control them to give different meanings. They work to gather the ends of the text in a sequential form, and the difference between semantic relationships is due to the difference in syntactic structures in the text, and some surface structures work to highlight meanings in the form of semantic relationships that reveal the meaning of the text and the main purpose for which these relationships were established, and relationships may differ in terms of some of them relying on clear linguistic links in the apparent text, as they are sometimes external relationships that the recipient imposes on the text, not the text itself, and are a result of textual phenomena such as advancement, delay, and pronoun references. There are relationships that become clear through conjunctions that connect sentences, or through referential elements. Relationships represent links for concepts that work to continue meanings in the fabric of the text through exchange between sender and recipient. Every text that is issued from producer to recipient is not free from these relationships, and these relationships take place within an organizational framework governed by the intention of the speaker and the other party, readers. In Kafi's conversations, we find that Al-Maqam relies on the semantic dimension in the process of coherence of texts.

Voices of the Dying

Abstract This paper discusses the convention of off-stage cries deployed in Greek tragedy and satyr play chiefly to represent violent events. Unlike other studies dedicated to this topic, it is primarily focused on the cries themselves and to a lesser extent on their context, both dramatic and theatrical. Using the familiar distinction between word and action, it begins with a simple question: how exactly does an off-stage cry represent a violent event taking place within? Examined first as textual phenomena the voices from within are found to acquire their meaning through the discourse of the characters, and not as cries per se. The performative approach, however, also brings their auditory dimension into perspective. Although the evidence is mostly circumstantial, its cumulative weight does suggest that the vocal qualities of the off-stage cries could endow them with meanings unaccounted for in the textual perspective.

Orientalism, Disorientation, and the “Other Side of the World”

This paper examines orientalism and its repercussions in the field of Late Antiquity. Instead of treating orientalism as a textual phenomenon, I argue that it is a continuous experiential process that comes as a result of encountering texts, objects, and others. I take examples from familiar academic practices and institutions—translations, editions, archeology, museums, digitization, etc.—all of which are related to access to this field. Discourses on progress sometimes cloud the ethical and moral issues of these practices, which we have inherited from older generations of Western scholars. I show how modern efforts and approaches remain insufficient in some cases, and more importantly how they primarily benefit scholars from or located in the West. This article, thus, aims to point out their shortcomings and critique the prevailing optimistic narrative of justice and progress in the hopes of inciting a more productive dialogue about access and knowledge production.

Jacques Derrida on the Problem of Nuclear Weapons

The article discusses postmodernist approaches to the problem of nuclear weapons, taking as an example Jacques Derrida’s paper No Apocalypse, Not Now. Proceeding from the widespread conception of postmodernism as relativism, the author hypothesizes that postmodernist philosophers would either try to demonstrate the non-absolute nature of the nuclear threat or suggest relativist ways of countering it. If we agree with Boris Groys’ interpretation of Derrida’s work, then it perfectly conforms to such expectations. However, a careful reading of the paper in question proves both our hypothesis and Groys’ interpretation to be wrong. Although No Apocalypse, Not Now does contain a number of relativist theses (for instance, Derrida portrays nuclear war as a textual phenomenon, a non-event, the absent referent that finally blurs all the distinction between knowledge and opinion, doxa and episteme), they play a minor role in the overall argument. Firstly, Derrida acknowledges the absolute nature of nuclear weapons: for him, they threaten the destruction of the entire archive and all symbolic capacity, that is, of culture as a social mechanism for coping with death, if not the destruction of the whole humanity as a biological species. Secondly, the philosopher criticizes the strategy of deterrence for relying on the logic of escalation and being prone to chance and accident. Thirdly, Derrida emphasizes that a nuclear war, which would destroy all the values and ideals that might legitimate starting it, would in fact be fought (should it happen) in the name of the name, and of nothing else, thus of nothing. To counter such urges, at the same time fundamentalist and nihilistic, the philosopher invites us to fall in love with life. In the later works of Derrida this invitation develops into a principle of responsibility for the life of the other, one of the central tenets of his ethical and political thought. However, since Derrida chooses to focus on individual instead of collective survival, questions remain as to whether his philosophy is able to meet the challenges of the nuclear age.

“Punish with Impunity”: The Unreliable Narration in “My Purple Scented Novel”

ABSTRACT As the only short story of Ian McEwan in the past 40 years, “My Purple Scented Novel” (2016) deals with the subject of friend betrayal and plagiarism in literary creation. Since this short story is narrated in the first-person narrative of the protagonist Parker Sparrow and in the form of confession deprived of the sense of repentance and shamefulness, the “performativity” of the narration is worthy of study. By adopting the narratological theories of James Phelan and Ansgar F. Nünning, we intend to brand Sparrow as an unreliable narrator, for he has diverged from the value and judgment of the implied author and the massed reader as well to evoke a discussion on ethics. His unreliability is to be gauged in the tripartite structure between textual phenomena, authorial agency and reader response. In this vein, this story underlines the tension created by McEwan and explains how Sparrow, though seeming to have escaped from the punishment of justice, suffers the ethical accusation as a kind of punishment with impunity.

Deconstruction in costume as a textual phenomenon

Deconstruction in costume as a textual phenomenon

Mediality, Materiality, and Multimodality in Erasure Poetry: The Example of Hawkey & Wolf

This article considers the “erasure poetry” of Uljana Wolf and Christian Hawkey, who revise Elizabeth Barret Browning’s sonnets and their translation by Rainer Maria Rilke, and argues that the genre is not a purely textual phenomenon, but polyvalent in terms of mediality and multimodality. Through the analysis of a pair of bilingual sonnets (English and German), we highlight different aspects of “erasure poetry”: the intertextuality linked to the erasure of features of the source texts, the new relations created between the English and German versions of the sonnets, and the particular visual aspect which foregrounds material aspects of the text and the printed book.

:Libel and Lampoon: Satire in the Courts, 1670–1792

:<i>Libel and Lampoon: Satire in the Courts, 1670–1792</i>

TEXTUAL CONCEPT DEVELOPMENT IN FRENCH LITERARY PROSE: MORPHOSYNTACTIC ASPECT

Introduction. Analysis of the texts belonging to the mid of the XXth century manifests the deviation from the formal characterization of textual phenomena. The paper suggests a newcomprehensive semantic and cognitive approach to textual concepts of French literary prose at semantic, metasemiotic and metametasemiotic levels.Purpose. The paper aims at revealing the morphosyntactic features of the textual concepts in French literary prosaic texts of the mid of the XXth century.Methods. The paper grounds on conceptual analysis, textual analysis, modelling the imaginary space theory, and narrative analysis.Results. Comprehensive semantic and cognitive approach allows to create a hierarchy of textual concepts and define their functions in the mid of the XXth century French novels. The research focuses on revealing the cognitive and communicative dynamics in the unfolding textual concepts viewed through textual implication and explication. Such approach allowsto create a hierarchy of the textual concepts and define their functions in the mid- XXth century French novels.Conclusions. Text forming function of textual concepts actualized in literary text is predetermined with the boundaries of metareality as total semantic space of the texts. Double nature of textual concepts is explained by interconnection of mental and lingual levels. It is approved the tendency of textual concepts development in morphosyntactic aspect (verbs, verbsconstructions, retrospective tense) at all levels of their hierarchy, and the functions of their integration, differentiation and individualization in the novels under consideration are determined. The paper proves that super categorization as ground feature of the textual concepts helps to construe the conceptual context that puts the text out of certain time and space.In interpreting the communicative dynamics of folding the textual concepts in French literary prosaic texts of the mid of the XXth century the paper reveals such lingual means of text formation, which coincide with the narrative structure of literary text. Morphological aspect of this process is predetermined by usage the verbs and grammar tenses, retrospective onein particular. Syntactic aspect is realized by rhetoric questions and author’s remarks.

FRENCH LITERARY PROSE TEXTUAL CONCEPTS THROUGH THE PRISM OF IMPLICATION AND EXPLICATION

Introduction. Analysis of the texts belonging to the mid of the XXth century manifests the deviation from the formal characterization of textual phenomena. The paper stresses upon the internal and external links between those that are actually verbalized in the text and thosethat are minded. The paper suggests a new comprehensive semantic and cognitive approach to the interpreting of the textual concepts in French literary prose at semantic, metasemiotic and metametasemiotic levels with special focus on revealing the cognitive and communicative dynamics of the unfolding textual concepts viewed through textual implication and explication.Purpose. The paper aims at revealing the implications and explications of textual concepts in French literary prosaic texts of the mid of the XXth century.Methods. The paper grounds on conceptual analysis, textual analysis, modelling the imaginary space, and narrative analysis.Results. Such approach allows to create a hierarchy of textual concepts and define their functions in the mid of the XXth century French novels. The tendency towards negativity of textual concepts at all levels of their hierarchy, and the functions of their integration, differentiationand individualization in the novels under consideration are determined.Conclusions. Text forming function of textual concepts actualized in literary text is predetermined with the boundaries of metareality as total semantic space of the texts. Double nature of textual concepts is explained by interconnection of mental and lingual levels.It is just mental level at which images, which embody cultural values and world understanding, are formed. Lingual level of textual concept mirrors the reality with the help of language and speech expressive means. Textual concepts objectivize the idea and message of the text. The paperproves that super categorization as ground feature of the textual concepts helps to construe the conceptual context that puts the text out of certain time and space.

Intertextual practice in Joris-Karl Huysmans' A Rebours

A rebours by Joris-Karl Huysmans is understood on the scriptural and aesthetic level as the privileged place of discursive interactions and all forms of interculturality. Textuality only makes sense in the rapprochement of writing and reading, as well as in the deployment of pictorial and artistic discourse. Thus, we propose to study in this article this textual phenomenon from two relations of co-presence, namely, reference and quotation. Then, we will draw out its meanings, showing precisely in what way the intertextual practice would be for Joris-Karl Huysmans a quest at the same time spiritual, intellectual and artistic. Keywords: Intertextuality, Reference, quotation, des Esseintes, A rebours.

Multiple Hands in the Marginal Annotations of the Hebrew Bible Codex Madrid M1: (Biblioteca Historica Marques de Valdecilla, BH MSS1)

This article presents a paleographical analysis of the marginal annotations that appear next to the biblical text in the Hebrew Bible codex known as Madrid M1. In order to do so, a new methodology has been developed. The ensuing analysis has identified a great number of annotations, largely located in the outer and intercolumnar margins, written by multiple hands. These later interventions have different aims and produce diverse results. The systematic additions associated with different Masoretic textual phenomena reveal an interest in organizing the information differently and offering the information on each phenomenon consistently by adding cases that are lacking. The non-systematic additions seem to be more the result or reflection of later revisions, readings, and uses of the manuscript. The annotations of both types show a clear intention to complete and expand the already abundant information found in the margins of Madrid M1, rather than an effort to correct it.

Emulación pictórica y experiencia ilusoria: pictorialismo en El biombo y los frutos de Jesús Gardea

Belonging to the last stage of Jesús Gardea, El biombo y los frutos is one of his most enigmatic and perplexing novels. This article examines the relationship with painting in this work under the notion of pictorialism as a textual phenomenon that creates pictorial effects in the narrative. In particular, the dialogue between painting and gaze is analyzed, where the narration plays with both the vivid and illusory experience of representation in the story. With this, it sets out to elucidate one of the most suggestive elements of Gardea’s writing, especially manifested in this novel, not without seeking to contribute to a greater understanding of the author’s latest creative stage and aesthetic proposal.

A Review of The Rise of the Australian Neurohumanities

A Review of <i>The Rise of the Australian Neurohumanities</i>

AUTOBIOGRAPHY AND THE “SPIRIT OF TIME” IN A. KRYMSKYI’S NIGILIST NOVEL “ANDRII LAGOVSKYI”

The article presents an analysis of Ahatanhel Krymskyi’s novel “Andrew Lagovskyi” in terms of reflecting the “spirit of the times” (decadence, hysteria, plebeianism), the actualization of the philosophy of nihilism, imperial colonialism. Such a critical perspective determined the structure of the article. The focus is on the psychotype of a new character in the literature of the modern era – “hysterical man”. It is noted that the two defining features of modernism – intellectualism and neuroticism – link Krymskyi with modernism. The comparison of this feature of Krymskyi’s work with the works of art of Ivan Franko (collection “Withered Leaves”) and Lesia Ukrainka (“Blue Rose”) was made. It is emphasized that at the end of the XIX century. the notion of a biographical “human document” is transformed into a subjective “psychological document”, and the artistic image into a “vivisection” and introspection – a self-analysis of one’s own soul. It is concluded that the new literature and, in particular, the emerging modern subject clearly tended to decadence, and the new authors unequivocally associated themselves with the decadents, even though they denied it. All this undermined the foundations of populist consciousness, that is, the worship of the “people” that dominated Ukrainian literature in the Shevchenko era. The linguistic diversity of the Krymskyi’s narrative is noted, in particular, the saturation of the text of the novel with quotations, translations, scientific commentaries, transitions to Greek, Turkish, German, French, Latin, and Russian. Socio-cultural value is noted in relation to fragments of vernacular language practice of the mother of the main character. Textual phenomena such as insinuation and orientalism have been noted. Ahatanhel Krymskyi’s unfinished novel is considered as a model of a modernist novel with its intellectual hero, polymorphic structure, philosophical and moral themes, psychological analysis and autobiography.