Academic literature on the topic 'Intertextual tension'
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Journal articles on the topic "Intertextual tension"
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Hsieh, Amanda. "Lyrical Tension, Collective Voices: Masculinity in Alban Berg's Wozzeck." Journal of the Royal Musical Association 144, no. 2 (2019): 323–62. http://dx.doi.org/10.1080/02690403.2019.1651496.
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AbstractThe voice of Berg's Wozzeck has been characterized by his Sprechgesang, heard as manifestation of his abnormality or even ‘hysteria’. However, Wozzeck often sounds more lyrical and emotive in relation to his oppressors, whose sense of authority is undermined by their caricatured vocal lines and vocal types. Rather than representing a ‘broken’ voice, Wozzeck's Sprechgesang is reserved for moments shared with his fellow low-ranking comrades, suggesting that it served as a voice of solidarity and empathy. In this article, I historicize the première of the opera at the Berlin State Opera; indeed, a glance at the singers who played the central roles suggests how the characters were perceived. It reveals an intertextual web of suffering shared between Berg's traumatized soldiers, and the perverse exercise of authority. Wozzeck therefore opens up questions about the expression of ideals in post-First World War Germany: the ideal of a stoic man demanded by the army, and the ideal of a voice.
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Mouw, Alex. "‘Free to act by your own lights’: Agency and Predestination in Marilynne Robinson’s Gilead Novels." Literature and Theology 35, no. 2 (March 15, 2021): 198–219. http://dx.doi.org/10.1093/litthe/frab007.
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Abstract This article explores Marilynne Robinson’s attempt to reconcile the doctrine of predestination with a commitment to human agency by reading her novels Gilead, Home, Lila, and Jack alongside their intertextual companion, John Calvin. I argue that, rather than attempting to penetrate the enigma of predestination and agency through theological treatises, Robinson embodies the tension between them in fiction. Rather than defining a solution to the problem, she meaningfully charts the lived experience of it. Indeed, in the Gilead novels the experience of agency is itself agency within a universe defined by God’s omnipotence. At the same time, characters’ freedom to act otherwise than habit or impulse would dictate depends on right perception. Robinson’s unique contribution to an American literary and theological legacy is to animate these tensions as only fiction can. Her novels offer a theological vista that cannot be separated from their fictional content, and so things that seem like tautologies grow profound through narration.
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Bolfek-Radovani, Jasmina. "Writing Contemporary Québec: The Quest for an Intertextual Identity in the Work of Roxanne Bouchard." Nottingham French Studies 55, no. 2 (July 2016): 209–23. http://dx.doi.org/10.3366/nfs.2016.0149.
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As the young Québécois author Roxanne Bouchard revealed in a 2010 interview, the search for an ‘identité intertextuelle’ is at the centre of her writing project. In this article, I will begin with a contextualization of the notions of intertextuality and identity within the Canadian francophone and Québécois literary, social and political space. This will be followed by an analysis of two of her novels – Whisky et paraboles (2005) and Nous étions le sel de la mer (2014). I will argue that Bouchard uses the intertextual devices of quotation and plurilingualism to generate space and identity in her novel writing. I will show how Bouchard's first novel gives rise to a tension between the paradigms of survival and rupture, whilst in her latest book she introduces a sociolinguistic dimension to her writing through the immersion of written language in the sounds of Québec's spoken language varieties. I will conclude that Bouchard remains preoccupied with re-writing contemporary rural space in search for a contemporary Québécois cultural identity engaging with orality.
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Petterson, Christina. "Moses and Abraham Go Arctic." Biblical Interpretation 16, no. 4 (2008): 363–74. http://dx.doi.org/10.1163/156851508x328189.
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AbstractThis paper reads the Gospel of John as expounded by Musa W. Dube in her article 'Savior of the World but not of This World: A Post-Colonial Reading of Spatial Construction in John' alongside the religious situation in contemporary Greenland, itself an often ignored example of the dilemmas of colonisation and postcolonialism. Tensions between the Danish Lutheran State Church and anti-Danish members of the indigenous Inuit populations over the place of Christianity in contemporary Inuit identity are analogous to the tension in John's gospel over who can claim to be Israel. In making this comparison, I hope not to exemplify what David Jobling warns us about: "Simple links between biblical and current situations, whether they leave the Bible looking good or bad, convey no lasting benefit." I seek to overcome the theoretical problems inherent in blindly adopting Dube's intertextual methods by employing Jonathan Z. Smith's observations on comparison. This in turn poses another range of problems about identity and method for readers as well as for the text which will be outlined here. Both the New Testament and the contemporary situation reveal the complexity of identities which simple categories of 'coloniser' and 'colonised' do not encompass.
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DAVIDSON, JOHN. "HOMER AND EURIPIDES' TROADES." Bulletin of the Institute of Classical Studies 45, no. 1 (December 1, 2001): 65–79. http://dx.doi.org/10.1111/j.2041-5370.2001.tb00232.x.
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Abstract Like all other Greek poets, Euripides falls under the shadow of Homer. The Troades is closely bound up with the Iliad, in that it represents the fulfilment of Troy's fate so clearly foreshadowed in the Homeric epic. It is not so much a question of linguistic echoes as of situational allusion associated especially with the figures of Andromache and Asyanax, widow and son of Hector. While Homeric and 5th Century values are clearly in tension, as can also be seen in the formal debate between Hecabe and Helen (which also draws the Odyssey into the intertextual nexus), and while Euripides may well to some extent be ironizing and critiquing, he appears at the same time to be offering an impassioned Homeric sequel to the Iliad itself.
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Maude, Ulrika. "“All that inner space one never sees”." Samuel Beckett Today / Aujourd’hui 32, no. 2 (July 30, 2020): 255–71. http://dx.doi.org/10.1163/18757405-03202008.
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Abstract Beckett’s prose, drama, correspondence and working notes contain numerous references to processes that pertain to unconscious, involuntary bodily functionality and materiality. In this respect, the body’s viscera and their processes cannot properly be said to belong to the subject, and yet everything over which we have agential control is premised on these deeper vegetative or physiological processes; thought and feeling, as Molloy puts it, ‘dance their sabbath’ in the ‘caverns’ of the body. If the conception of the ‘human’ is premised on rationality, then the viscera are non-human, object-like. Beckett’s anti-rationalist emphasis on affective, visceral experience in How It Is (along with the novel’s veiled allusions to Pavlov’s conditioning and Watson’s behaviourism) operates in tension with the more elevated intertextual references that signpost the humanist tradition.
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Chen, Siyu. "Disciplining Desiring Subjects through the Remodeling of Masculinity." Modern China 43, no. 1 (August 1, 2016): 95–120. http://dx.doi.org/10.1177/0097700416648278.
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If You Are the One, the most watched dating show in China, caused a heated public debate following its debut in 2010, resulting in two government notices being issued regarding the regulation of dating shows. Using textual and intertextual analysis of the show and the public debate surrounding it, this article scrutinizes the transformation, following government regulation, of the construction of masculinity on the show. Drawing on Lisa Rofel’s narrative of “desiring China” and Robert P. Weller’s concept of “responsive authoritarianism,” this article shows how the tension between the market logic of the Chinese media and their political ownership is played out through the negotiation and mobilization of the meaning of gender. This article therefore also sheds light on larger political, economic, and sociocultural configurations in contemporary China.
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Pochmara, Anna. "Enslavement to Philanthropy, Freedom from Heredity: Amelia E. Johnson’s and Paul Laurence Dunbar’s Uses and Misuses of Sentimentalism and Naturalism." Polish Journal for American Studies, no. 12 (Spring 2018) (April 30, 2022): 113–28. http://dx.doi.org/10.7311/pjas.12/1/2018.08.
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The article analyzes dialogical relations between Amelia E. Johnson’s Clarence and Corinne, or God’s Way (1890), an evangelical conversion narrative of the Black Woman’s Era, and The Uncalled (1898), the first novel of Paul Laurence Dunbar. As both texts feature racially indeterminate protagonists, draw on the drunkard’s story, are set in small northern towns, and were published by African American writers within the space of less than a decade, they encourage an intertextual reading. Clarence and Corinne and The Uncalled recast the themes of reform, uplift, and charity and the ways in which these functioned in the sentimental and naturalist aesthetics. Representing the tension between the lower class and its reformers, Dunbar’s and Johnson’s narratives embrace social determinism and effectiveness of reform work yet they also demonstrate the limitations of sentimental empathy and problematize the opposition between the benevolent agency of the reformer and the helplessness of the brutalized victim.
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Wurst, Christina. "Dildoshops, Gritty, and Bernie’s Mittens: The Framing of American Politics Through Pop Cultural Memes." New Horizons in English Studies 6 (October 10, 2021): 111–29. http://dx.doi.org/10.17951/nh.2021.6.111-129.
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An unprecedented number of memes emerged in response to the 2020 U.S. presidential elections. This article offers a thematic analysis of a corpus of memes published on Twitter between November 3, 2020 and January 20 2021 in relation to the U.S. presidential election. By further employing a qualitative discourse analysis and close readings of selected examples, this article explores the stances and intertextual references expressed in the memetic discourse. I illustrate which events users engage with, how they frame them using the elements of American pop culture, and the different functions such memes served for different publics. Central events – such as Donald Trump’s press conference in a Four Seasons Total Landscaping parking lot, Joe Biden’s victory and rumors about the Russian president Putin resigning – were commented upon both with broad references to widely popular franchises such as Star Wars and with multi-layered intertextual references to iconography of meme culture such as the Hockey mascot Gritty. Memes exaggerated events for comedic purposes, providing relief after a long time of tension, as well as possibly trivializing and distorting public perception of events. While meme activity peaked on November 6th and 7th, a singular viral meme of Bernie Sanders emerged after Joe Biden’s inauguration, illustrating a different genre of meme as a response to a different political situation in which the political figure serves a wide variety of purposes in commenting upon popular culture. Such memes served to establish a sense of community, agency, and catharsis after the anxieties many Democratic voters experienced prior to the election. These findings present the growing role of popular and fan culture to political discourse on mainstream social media platforms and their varied and highly flexible expression.
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Neidhöfer, Christoph. "Experiencing Time in Brian Cherney’s String Quartet No. 4 (1994)." Intersections 37, no. 1 (May 17, 2019): 119–42. http://dx.doi.org/10.7202/1059891ar.
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Brian Cherney’s Fourth String Quartet (1994), in one movement lasting half an hour, is striking for its formal coherence and diversity of materials. The work achieves large-scale cohesion not only through an intricate interplay of three simultaneously unfolding “main structures”—four attacca movements in one, on one level, seven sections forming certain temporal proportions, on another, and four cycles of “breathing rhythms” derived from the same proportions on a third level, as documented in the manuscript sources—but also through the continually fluctuating tension we experience throughout the movement between ontological and psychological time. Pierre Souvtchinsky’s notion of a “counterpoint” between “ontological time” (i.e., clock or real time) and a particular music’s inherent time shaped by “the material and technical means by which [the] music is expressed” is referenced to demonstrate how in Cherney’s quartet fixed proportions and slow, stable polyrhythms active in the background afford space for foreground activity that has its own sense of time. The article further explores the notion of time in a second, metaphorical dimension, as concerns intertextual allusions in the quartet.
Dissertations / Theses on the topic "Intertextual tension"
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Liu, Charlotte Hua. "A Vygotskyan educational psycho-semiotic perspective of interpsychology in classroom teaching and teacher socialization: theories, instrument, and interpretive analyses." Thesis, 2008. http://hdl.handle.net/2440/69483.
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This study reviewed and dialogued with Vygotsky’s epistemology and developmental psycho-semiotics, where development results from the dialectic connections between phylogeny and ontogeny, consciousness and unconsciousness, society and individuality, all of which are mediated in the relationship between language and thinking. Based on Vygotsky’s developmental psycho-semiotics and contemporary psychoanalytic theories, this study discussed an educational psycho-semiotics, concerning the mediational mechanism of teaching as the environment of learning. ‘How does teaching influence learning in a mediational way’, and particularly, ‘how is the dialectic speech-thinking relationship reflected in teaching and teacher socialization’ were the core problems. To the core problems, this study provided a tentative, three-fold response, involving a theoretical, an instrumental, and an interpretive analytical component.
Theoretically, it argued that while the simultaneity of interpersonal infusion and intrapersonal integration underlies individual development, the simultaneity or synchronicity of intrapsychological and interpsychological communications defines the quality of teacher-initiated educational relationship and socialization. An acausal, apperceptive cycle, teachers’ intrapsychology – interpsychology – students’ intrapsychology was identified as the fundamental educational mechanism. Reflecting this fundamental mechanism were four structural principles in the higher (i.e., mediated) forms of teaching and teacher socialization. These were the structure of task and participation, functional systematicity in conceptual teaching, interpsychological encounter between teacher and students, and the internal order of interaction.
As the study was conducted in the discipline of English as an Additional Language (EAL), Vygotsky’s developmental theory on language and thinking and its particular implications for L2 education were also considered. For better understanding of teachers’ psychological operations, the notion of scientific concepts was reinterpreted. Four features of scientific conceptual functionality were described, which corresponded with the structural principles of mediated teaching.
In the second component of the study, a tentative instrument was established, with four dimensions (structural, conceptual, social conceptual, and historical) and each at external and internal levels, for the interpretation of teachers’ intrapsychology as the precondition for teacher-student interpsychology.
The final component responded to the central question of mediated teaching and teacher socialization with interpretive analyses of classroom data collected from three senior secondary ESL teachers at three Adelaide schools. Episodes of teaching and teacher-student conversations were interpreted from the four dimensions at external and internal levels so as to shed light on the acausal, apperceptive mechanism that originates from teachers’ intrapsychology to teacher-student interpsychology. Overall, despite surface differences in curriculum contents, tasks, semantics of teachers’ speech, and student clienteles, analyses showed that the mechanism of teacher intrapsychology – interpsychology – student intrapsychology could be used in understanding teaching and teacher socialization across school and classroom settings.
In replying to the central problem of the research, i.e., how does teaching influence learning in a mediational way, or how is speech-thinking relationship reflected in teaching and teacher socialization, the theoretical, instrumental, and analytical components of the study did not proceed in a temporal sequence. All three components interacted and mutually facilitated one another. This research methodology was likened to an equation between two unknowns and could be described as the heuristic inquiry. A heuristic inquiry was necessary because of the study’s conceptualization of the research problem, i.e., teaching and teacher socialization, not as causal, but as the acausal and apperceptive origins of learning. With regards to the distinctive research methodology, this study did not present a final, conclusive answer to the problem, but a cohesive platform on which future research can be built.Thesis (Ph.D.) -- University of Adelaide, School of Education, 2008
Books on the topic "Intertextual tension"
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Tulloch, John, and Belinda Middleweek. Intimacy. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190244606.003.0002.
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Chapter 1 discusses the film Intimacy as constructed discursively from two entirely different perspectives: a film reviewer’s intertextual references and professional organization of knowledge in constructing for his readers a negative view of the film and the authors’ no less intertextual, no less constructed, interdisciplinary “overlapping” of frames, interpreting Intimacy by way of a “mutual understanding” between and a “galvanizing extension” of disciplinary assumptions. In this analysis the narrative is explored via the relationship of three milieus: the sex scenes of Jay and Claire; the social world of south London beyond Jay’s flat, where this sex takes place; and Jay’s own personal memory space. The tension and balance between language and silence explored between and within these scenes reveal the film’s exploration of modern intimacy at a time when sex for reproduction, marriage, and romantic love are under constant renegotiation.
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Tulloch, John, and Belinda Middleweek. Introduction. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190244606.003.0001.
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This introduction traces the book’s origins across three significant dialogical moments. First is the mediated moment of television producer Middleweek interviewing the 7/7 survivor Tulloch, followed by their intertextual engagement with two texts of intimacy, Chéreau’s film and Giddens’s book. Second is an interdisciplinary dialogue employing feminist mapping theory to forge a “bridging” and “rainbow” scholarship between disciplinary fields that provide ways of seeing real sex films, including risk sociology, feminist psychoanalytical theory, and critical geopolitical theory, in combination with concepts of genre, authorship, production, stardom, social audience, and spectatorship. Third is a dialogue within theories of risk modernity exploring the tension between the “demand for constant emotional closeness” and the quest for “confluent love” in real sex film as the utopia and dystopia of love are played out through cinema.
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Black, Scott. Henry Fielding and the Progress of Romance. Edited by Alan Downie. Oxford University Press, 2013. http://dx.doi.org/10.1093/oxfordhb/9780199566747.013.012.
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Henry Fielding’s novels fit centrally into recent revisionist accounts of the novel as an international genre defined by translation and adaptation and even by its filiations with romance. Against the standard story of the novel rising as it moves away from romance, Fielding’s novels develop as they approach romance. His art increases in power and sophistication as he more fully explores the possibilities of romance, both structural and modal. As Fielding moves from Jonathan Wild to Joseph Andrews, Tom Jones, and Amelia, the productive tension between satire and romance that organizes all his novels is increasingly resolved by integrating the satire into the structures of romance; love is increasingly explored and not just assumed; and the romance heroine becomes increasingly central. Fielding uses the modal forces of romance to address the issues raised by its expansive, dialogic, and intertextual generic structures.
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Boehmer, Elleke. The Mind in Motion. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198794776.003.0002.
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Drawing on insights from relevance theory, the chapter explores how W.B. Yeats’s late poem ‘Long-legged Fly’ creates an exemplary occasion for reflecting first on cognition and then on the ways in which cognition might be made manifest in poetic language; in particular, here, in a dominant simile that repeats as a refrain through the poem. Processing the three stanzas’ different inferential, sensorimotor, and intertextual effects, we as readers at one and the same time contemplate in each case a body in thought, and we contemplate ourselves thinking. The poem in this sense repeatedly performs how a history-changing reflective moment holds a range of creative energies in dynamic tension. Relevance theory’s ‘loose’ sifting of literal and other meanings, in Deirdre Wilson’s words, allows us to become aware of these two processes unfolding at the same time, and in relation to each other, as is demonstrated in this close reading.
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Phillips, Christina. Religion in the Egyptian Novel. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474417068.001.0001.
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Religion has played a major role in the Arabic novel since its inception. From the first forays into realism in the early decades of the twentieth century to the technically sophisticated and experimental works of the late 1960s to the present, the Arabic novel has consistently engaged with religious themes and issues. This book is an original, in-depth study of the intricate and enduring relationship between religion and the Arabic novel in Egypt. Part One addresses questions of form and ideology and explores the role of religion in the Arabic novel as it came of age. It examines religion in a selection of early works in the context of nation formation, modernity and secularism, and develops a concept of religion as the ‘other’, with all the tension and ambivalence that this implies. Part Two explores religious themes and subjects in the Arabic novel from the late 1960s onwards. Through close readings of representative texts, it analyses intertextual dialogues with religion (chapter 5) Sufi dimensions (chapter 6), the Coptic theme (chapter 7) and feminist literary engagements with Islam and Christianity (chapter 8) in the Arabic novel. The essential question underpinning the study is why and how is the Arabic novel, as a modern form which eschews faith and dogma, so heavily involved with religion and what does this reveal about religious, secular and novelistic discourse?
Book chapters on the topic "Intertextual tension"
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Kukkonen, Karin. "Intertextual Precision Expectations." In Probability Designs, 107–16. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190050955.003.0009.
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In the chapters that follow, the third-order probability design is developed. The third-order probability design revolves around how expectations about second- and first-order predictions are developed through structural patterns yielded by genre (III.1), textual gaps and shadow stories (III.2), and intertextual references to unfamiliar texts (III.3). The final chapter of the section, then, traces the tension between flexibility and constraint in probability designs.
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Bowe, David. "Guittone d’Arezzo." In Poetry in Dialogue in the Duecento and Dante, 21–58. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198849575.003.0002.
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Chapter 1 demonstrates the dialogic nature of Guittone d’Arezzo’s performance of conversion through the intertextual relationship between his pre- and post-conversion poetry, written as ‘Guittone’ and ‘Frate Guittone’, respectively. This analysis is the first step in a discussion of the ‘corrective intertextuality’ used by authors (including Dante) to construct teleological narratives of subjectivity, often with recourse to religious authority. The chapter confronts the tension between irony and sincerity inherent in Guittone’s particular, intertwined performances of subjectivity and conversion across his whole corpus. The chapter gives an in-depth account of the destabilizing effects of (Frate) Guittone’s two voices and two phases of poetic writing.
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Wenzel, Jennifer. "How Far Is Bhopal? Inconvenient Forums and Corporate Comparison." In The Disposition of Nature, 195–258. Fordham University Press, 2019. http://dx.doi.org/10.5422/fordham/9780823286782.003.0005.
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This chapter proposes the multinational corporation as an axis for literary comparison. Charting Dow Chemical’s history of harm, it links Indra Sinha’s Bhopal novel Animal’s People to Agent Orange and the silicosis epidemic resulting from Union Carbide’s excavation of the Hawk’s Nest Tunnel in West Virginia. To avoid liability for Bhopal, Union Carbide and Dow invoked the legal doctrine of forum non conveniens (inconvenient forum): a comparative doctrine, concerned with language, location, and the difficulty of interpreting across geographical divides, that resonates with the concerns of comparative literature. Animal’s People’s multilingualism and intertextual allusions derive from its ambivalence about the possibility of environmental justice and planetary solidarity. Aware of its global circulation, Animal’s People is caught between the conventionality of a bourgeois marriage plot and a revolutionary, eco-apocalyptic sublime. This formal tension is the novel’s solution to the challenge of imagining justice for Bhopal without ignoring the historical fact of justice still undone. The chapter demonstrates the pitfalls of bourgeois sympathy and radical solidarity as responses to the calculations of risk logic and its contradictions among toxic, financial, and media exposure. Globalization works through localization, a corollary of neoliberalism’s socializing risk and privatizing profit.
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Pashkovska, Liudmila. "INNOVATIVE VIOLIN METHOD OF TEACHING AS A MECHANISM FOR FORMING THE MEANING FORMATION OF MUSICAL NARRATIVE OF VIOLIN INSTRUMENTAL MUSIC OF THE ERA ON ROMANTICISM (ON THE EXAMPLE OF 5-TH CAPRICE OF PAGANINI’S FROM THE CYCLE “24 CAPRICES FOR SOLO VIOLIN”)." In Integration of traditional and innovation processes of development of modern science. Publishing House “Baltija Publishing”, 2020. http://dx.doi.org/10.30525/978-9934-26-021-6-14.
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This article is devoted to the innovative violin method of teaching which reveals different angles of the paradigm processes of the formation of the text of violin instrumental music of the era on Romanticism and the semantic organization of the musical narrative in the development of the intertextual dialogue "one's own-another's" on the material of the 5th Caprice for Paganini's violin-solo. The problem of dialogue in art in a broad sense is now one of the most popular both in modern domestic musicology and in culture in general. This exploration constitutes a fragmented but very important section from the structural elements of which the research innovative violin methodology is formed and consist, which rapidly increases motility, qualitatively alters of sound production, accurately, clear articulation, uses new technology that instantly allows you get rid of tension in the muscles during the performances of musical pieces, regardless of the speed of the pace of the instrumental pieces being performed, allows instant concentration and helps to overcome the stage excitement of the performer, using a combination of carefully selected instrumental and psychological tools (attitude and practices). The technique pushed the author to highlight the main directions and principles of interaction of textual reincarnations. The stated problem significantly expands the spectral directions in the study of the semantic organization of narratives in research exploration. The study of the texts of instrumental pieces in intertextual interactions allows to get into the processes of text creation and to investigate their influence on the realization of the final idea of the composer and performer. The process of forming the text of instrumental music as the end result and the end point of full-fledged research is an open scientific problem. The peculiarity of this study is the intersection of musicological, cultural and psychological views on the stated issues. We’re guided in its work by various multifunctional methodologies of several scientific areas: from purely musical to culturological (using synergistic, hermeneutic, gnoseological and aesthetic approaches) and psychological (relying on the knowledge of the psychology of creativity using various setting and practices, existential approach). The use of research innovative violin technique makes this study unique and different from previous explorations. The approach to studying the text of any volume and complexity will be the key to a better understanding of the cultural dialogue of postmodern times, when the performer face to face enters into an imaginary dialogue of artists in the study of cultural processes, to better understand themselves, to clarify cultural, psychological and musicological paradigms of reading an artistic text. The study of the semantic mechanisms of the instrumental text will provide an opportunity to delve into the processes of textual dialogue and will reveal the features of the artistic possibilities of the theme of Caprice 5, which acts as an intertextual model for any instrumental pieces, regardless of the time of their creation. Culture reveals its meanings through the stylistics of texts, which is why it is so important to master different ways of thinking. And cultural stereoscopicity will allow us to consider the problem of intertext mechanisms polyphonically and dynamically, from the study of cultural codes and communications to the revival of cultural space in the polyphony of existence.
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Van Hulle, Dirk. "Strategies of Reading." In Genetic Criticism, 121–63. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780192846792.003.0004.
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On the one hand, genetic criticism involves transferable skills such as aspects of transcription and digital scholarly editing. On the other hand, it also involves more abstract theoretical issues relating to matters of authorship, collaboration, authority, agency, intention, and intertextuality, i.e. the critical stance that colours the critic’s reading of the genesis. This ‘colouring’ is inevitable. What matters is to be aware of one’s own critical stance and to be open about it at the start of a genetic analysis. This chapter discusses strategies of conjuring the hermeneutic potential of archival material and writing processes, involving traces of the creative process (such as notes, drafts, and other manuscripts). The key question here is how to read those traces: not only traces such as deleted words in the drafts but also traces of other books—the intertextual condition. The materiality of these traces is a crucial element in this type of research: if a writer decides to destroy their manuscripts, there is not much to work with. But the research object of genetic criticism is actually the dynamics of the creative process, which emerges from a tension between the concrete objects and the abstract retrospective reconstruction of the process that produced them. This reconstruction implies a form of cognition enactment, not unlike the consciousness enactment that is required from readers to recognize and interpret fictional minds. The chapter ends with a discussion of genetic narratology—the analysis of narratives across versions.
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Garner, Ross P. "Access Denied? Negotiating Public Service And Commercial Tensions Through Torchwood’s Intertextual Barricade." In Torchwood Declassified. I.B.Tauris, 2013. http://dx.doi.org/10.5040/9780755693771.ch-001.
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Bowe, David. "Dante in dialogue." In Poetry in Dialogue in the Duecento and Dante, 119–56. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198849575.003.0005.
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Chapter 4 concentrates on Dante’s dialogues with and treatment of Guittone, Guinizzelli, and Cavalcanti through the Commedia as well as the Vita nova and Convivio. The chapter highlights the undercutting of Guinizzelli even as he is named as ‘padre’ in Purgatorio. It also makes a case for the proscription of Cavalcanti from the same realm with reference to the early tenzone beginning ‘Guido, i’ vorrei che tu e Lapo ed io’. The chapter sheds new light on the motives for and means of the effacement of Guittone in Dante’s works. These three case studies all support a discussion of the dialogic tensions inherent in these intertextual moments.
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Etty, John. "Becoming Soviet in Krokodil." In Graphic Satire in the Soviet Union, 191–210. University Press of Mississippi, 2019. http://dx.doi.org/10.14325/mississippi/9781496820525.003.0009.
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This chapter considers the cartoons of Krokodil's third schema, which reconciled questions about everyday life in the USSR, presenting ideology as a set of behaviors, more or less consciously adopted, and therefore theatrically performed. Krokodil cartoons about citizens "becoming" Soviet were self-reflexively graphic texts that depicted incorrect responses to circumstances and failed performances of ideological acts by "non-masters", and thus heightened readers' self-consciousness about the act of seeing. They did so, as this chapter shows, using three metaphors: i) theatrical performances, ii) aids and hindrances to clear vision of all types, and iii) surveillance (of stiliagi, for example) to refract discourses about the Soviet government's highest policy priorities.Krokodilsatirically explored Soviet lived experience, performing acts of revelation for its readers' benefit. Many "becoming" cartoons manifest internal and intertextual tensions which function as ocular exercises to revolutionize readers' understandings of what they saw, thereby encouraging the self-construction of Soviet subjectivity.
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Zim, Rivkah. "The Disciplines of Reason and Lyric Poetry." In The Consolations of Writing. Princeton University Press, 2014. http://dx.doi.org/10.23943/princeton/9780691161808.003.0002.
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This chapter demonstrates how Boethius' text established many of the themes and forms that spoke to and for later writers in prison. These include: consolation from the expressive power of ordered lyric meters set against the disorder of injustice and suffering in the real world; the importance of a well-stocked mind and imagination in maintaining resistance to oppression; and the expressive potential of paradox in reconciling apparent contraries and celebrating the creativity that may arise under situations of adversity. The text also promoted the subtle simplicity of dialectic and patterns of opposing binaries used to resolve impossible tensions in apparently progressive forms of logical argument and related forms of dialogic exchange between different points of view represented in argument, correspondence, and intertextual allusiveness. Finally, it demonstrated the urgent need often experienced in the condemned cell to set the record straight (to name names) or to construct a memorial image of the authorial self and, more objectively, to testify for humankind by offering insights derived from the prisoner's experience.