Journal articles on the topic 'Intertextual tension'
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1
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.
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Demeulenaere, Alex. "„Faux comme un diamant du Canada“." Romanistisches Jahrbuch 73, no. 1 (November 8, 2022): 329–41. http://dx.doi.org/10.1515/roja-2022-0014.
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Abstract The European travel narratives that follow the discovery of the New World have already been extensively studied, from historical, anthropological and literary perspectives. However, we would like to reread them from the perspective of the tension between a “marvellous possession” (Greenblatt 1991) and a more profound failure. The early travelogues show a complex discursive architecture with a textual subject facing an absolute Other, seeking to establish on the one hand an analogy based on a reassuring fictional intertextual horizon and on the other an exaggeration of otherness, symbolised by anthropophagy and monstrosity. If, as Todorov (1982) thinks, such an architecture was indispensable to the enterprise of conquest, it is nevertheless at the root of a triple failure. If the undeniable intercultural failure has already been widely studied, we will develop two others: the failure of the genre of the travelogue from the Middle Ages as an interpretative matrix, and, more profoundly, the failure of a Western knowledge paradigm, which will be shown in an exemplary way by the criticisms of las Casas and Montaigne.
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Bosman, Martjie. "Die FAK-fenomeen: populêre Afrikaanse musiek en volksliedjies." Tydskrif vir Letterkunde 41, no. 2 (April 20, 2018): 21–46. http://dx.doi.org/10.4314/tvl.v41i2.29672.
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Afrikaans popular music of a variety of genres and subgenres is currently flourishing. A very productive phenomenon is the re-interpretation of older songs, in particular folk songs. This article gives a short historical overview of the collection and publication of Afrikaans folk songs, followed by a brief description of various ways in which folk songs have previously been utilised. The collection of Afrikaans folk songs known as the FAK (Federation of Afrikaans Cultural Organisations) songbook earned itself an important position in Afrikaans cultural circles, but it was also stigmatised. Since the end of the 1990s, Afrikaans popular songwriters and singers showed a renewed interest in so-called FAK songs and a number of musical arrangements and re-writings of folk song lyrics have been recorded. A number of lyrics that either contain references to folk songs or are re-writings of folk songs, are discussed. Tension between the old, well-known words of the folk songs and the new songs often develops, while the intertextual references to older songs are used to comment on current situations. The importance of popular music in minor cultures is briefly discussed.
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Bowman, Matthew. "Matthew Philip Gill and Joseph Smith: The Dynamics of Mormon Schism." Nova Religio 14, no. 3 (February 1, 2011): 42–63. http://dx.doi.org/10.1525/nr.2011.14.3.42.
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In 2007, Matthew Philip Gill, a resident of Derbyshire, England, announced the formation of the Latter Day Church of Jesus Christ. He claimed to be acting under angelic direction, and produced a new scripture, the Book of Jeraneck, to usher in his new faith. Gill's church is a restoration of a restoration: he claims to have restored the Mormon movement, which Joseph Smith founded as a restoration of the church Jesus organized, but which Gill claims has fallen into apostasy——particularly its primary iteration, the Church of Jesus Christ of Latter-day Saints (LDS), which Gill was raised in but has abandoned. This article analyzes the relationship between Gill's movement and the LDS church, pointing out the ways in which Gill draws upon the Mormon tradition to claim authority for his new church, but also the ways in which Gill seeks to alter the balance of tension between the LDS church and the culture around it. The article particularly explores Gill's founding narrative, comparing its language, motifs, and forms of spirituality with those of Joseph Smith; the Book of Jeraneck's intertextual relationship with the Book of Mormon; and Gill's story of LDS apostasy.
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Capelle, Birgit. "Mountains and Waters of No-Mind." JAAAS: Journal of the Austrian Association for American Studies 2, no. 2 (April 26, 2022): 117–40. http://dx.doi.org/10.47060/jaaas.v2i2.93.
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This article explores the epic poem Mountains and Rivers Without End (1996) by Gary Snyder and a Song/Chin dynasty Chinese landscape painting. I illustrate how the poem and the painting, together with Henry David Thoreau’s autobiographical narrative A Week on the Concord and Merrimack Rivers (1849) and Jack Kerouac’s The Dharma Bums (1958), form a complex web of intertextual and intermedial references. All four works, I argue, tell similar narratives of spiritual journey and paths through mountain and river landscapes; all four speak of moments of heightened awareness in the sense of Buddhist “no-mind” (Chinese: wu-shin; Japanese: mushin). I show how they converge in exhibiting ontologies of non-substantiality, emptiness, and becoming. Taking the philosophies of Zen Buddhism and Taoism as a theoretical frame, I argue that the American transcendentalist and Beat works poetically and narratively convey relational rather than substantialist views of Being and life. They depict the world as a dynamic and open field of tension between two non-oppositional forces from which we as subjects are not essentially separate in a dualistic way. I substantiate my argument by drawing on the French sinologist and philosopher François Jullien, who refers to the Chinese understanding of landscape (“mountains and waters”) in his critical treatment of (European) philosophy’s centuries-long subject-centered epistemology and substantialist “ontology of Being.”
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Capelle, Birgit. "Mountains and Waters of No-Mind." JAAAS: Journal of the Austrian Association for American Studies 2, no. 2 (April 26, 2022): 117–40. http://dx.doi.org/10.47060/jaaas.v2i2.93.
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This article explores the epic poem Mountains and Rivers Without End (1996) by Gary Snyder and a Song/Chin dynasty Chinese landscape painting. I illustrate how the poem and the painting, together with Henry David Thoreau’s autobiographical narrative A Week on the Concord and Merrimack Rivers (1849) and Jack Kerouac’s The Dharma Bums (1958), form a complex web of intertextual and intermedial references. All four works, I argue, tell similar narratives of spiritual journey and paths through mountain and river landscapes; all four speak of moments of heightened awareness in the sense of Buddhist “no-mind” (Chinese: wu-shin; Japanese: mushin). I show how they converge in exhibiting ontologies of non-substantiality, emptiness, and becoming. Taking the philosophies of Zen Buddhism and Taoism as a theoretical frame, I argue that the American transcendentalist and Beat works poetically and narratively convey relational rather than substantialist views of Being and life. They depict the world as a dynamic and open field of tension between two non-oppositional forces from which we as subjects are not essentially separate in a dualistic way. I substantiate my argument by drawing on the French sinologist and philosopher François Jullien, who refers to the Chinese understanding of landscape (“mountains and waters”) in his critical treatment of (European) philosophy’s centuries-long subject-centered epistemology and substantialist “ontology of Being.”
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Beal, Timothy K. "The System and the Speaking Subject in the Hebrew Bible: Reading for Divine Abjection." Biblical Interpretation 2, no. 2 (1994): 171–89. http://dx.doi.org/10.1163/156851594x00204.
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AbstractWhat appears to be self-evident in biblical studies—what "can be assumed"— may in fact be quite problematic. Invariably and unquestionably, scholars of Micah 1:8-9 identify its speaker as the prophet rather than YHWH. Yet when one tugs at a few loose threads, that supposedly self-evident reading unravels. After problematizing that identification, this paper argues for reading YHWH as the profoundly unstable speaking subject of this abjectionable dirge. As such, the divine subject of this prophetic discourse is rendered entirely ambivalent, sweeping through and among the people with all the rage and all the grief of absolute disorientation. Understood thus, the book of Micah opens with a theophany of, in Julia Kristeva's terms, a "subject on trial," brought about by the "fracture of a symbolic code which can no longer 'hold' its (speaking) subjects" (1986a:30). This reading, which draws inspiration from Kristeva's theories of textuality and the construction of the speaking subject in discourse, is placed in intertextual tension with Kristeva's own reading of the biblical God in The Powers of Horror (1982), which, ironically, depicts that divine subject as the stable, univocal Guarantor of patriarchal order. Thus this paper is intended to problematize Kristeva's reading of the divine subject of biblical discourse, even while it depends heavily on her theoretical work to evolve a new reading of the text.
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Radionova, Alla. "Doctor Zhivago by Boris Pasternak and the Knight of Faith by Kierkegaard: Common Ground." Izvestia of Smolensk State University, no. 2(50) (July 2, 2020): 48–64. http://dx.doi.org/10.35785/2072-9464-2020-50-2-48-64.
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The article deals with the intertextual relationships of the novel «Doctor Zhivago» by B. Pasternak and the treatise «Fear and Trembling» by Søren-Kierkegaard. Pasternak mentioned Kierkegaard in his works and noted his great influence on modern culture. While Pasternak was working on the novel, he
used the concept of chivalry, which was an allusion to Kierkegaard. In his treatise «the Knight of Faith» is a moral model that has overcome the fetters of rational thought and broken out of the temporary boundaries. S. Kierkegaard gives his description, which is directly related to the themes and motives associated
with the image of Yuri Zhivago. Both Kierkegaard and Pasternak emphasize that the heroes of the high spirit merge with the human community, they cannot be distinguished from the general population with their private existences; the authors carefully contemplate the world around them, trying to penetrate
into the very essence of each phenomenon, they differ in external carelessness with the utmost tension of the inner spiritual life. In their self-denial they renounce the most beloved, precious, valuable. Their love takes the form of religious
veneration, and the beloved combines the temporal and the eternal, the earthly and the divine. They transfer the pain of double existence and the pain of loss into the realm of the spiritual, the creative, and the realm of memory. In the
treatment of women's images in «Doctor Zhivago» Pasternak is equally focused on both Kierkegaard and Dostoevsky, between whom, in turn, there are many similarities. The common ground between the two texts proves the presence of purposeful inter-system interaction.
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Wang, Zhuoyi. "From Mulan (1998) to Mulan (2020): Disney Conventions, Cross-Cultural Feminist Intervention, and a Compromised Progress." Arts 11, no. 1 (December 26, 2021): 5. http://dx.doi.org/10.3390/arts11010005.
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Directed by the feminist filmmaker Niki Caro, Disney’s 2020 live-action remake of Mulan (1998) strove to be a more gender progressive, culturally appropriate, and internationally successful adaptation of the Chinese legend of Mulan than the animated original. Contrary to the film’s intended effect, however, it was a critical and financial letdown. The film was criticized for a wide range of issues, including making unpopular changes to the animated original, misrepresenting Chinese culture and history, perpetuating Orientalist stereotypes, and demonizing Inner Asian steppe nomads. In addition, the film also faced boycott calls amid political controversies surrounding China. It received exceptionally low audience ratings in both the US and China, grossing a total well under its estimated budget. This article argues that Mulan (2020) is not, as many believe, just another Disney film suffering from simple artistic inability, cultural insensitivity, or political injustice, but a window into the tension-ridden intersectionality of the gender, sexual, racial, cultural, and political issues that shape the production and reception of today’s cross-cultural films. It discusses three major problems, the Disney problem, the gender problem, and the cultural problem, that Mulan (2020) tackled with respectful efforts in Caro’s feminist filmmaking pattern. The film made significant compromises between its goals of cultural appropriateness, progressive feminism, and monetary success. Although it eventually failed to satisfactorily resolve these at times conflicting missions, it still achieved important progress in addressing some serious gender and cultural problems in Mulan’s contemporary intertextual metamorphosis, especially those introduced by the Disney animation. By revealing Mulan (2020)’s value and defects, this article intends to flesh out some real-world challenges that feminist movements must overcome to effectively transmit messages and bring about changes at the transcultural level in the arts.
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Thatcher, Tom. "(Re)Mark(S) On the Cross." Biblical Interpretation 4, no. 3 (1996): 346–61. http://dx.doi.org/10.1163/156851596x00086.
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AbstractThis essay seeks to analyze tensions in historical criticism by reviewing Raymond Brown's treatment of "the cry of dereliction" in The Death of the Messiah. Brown navigates a three-tiered reading of Mark 15: the text/surface level, an intertext level, and a historical Jesus level. The historical Jesus level will presumably operate as an extra-linguistic control which enhances the objectivity of Brown's reading of the surface text. But this "history" in Brown's reading actually refers to a sub-text generated by proposed intertextual links which Brown's own language renders unstable. The deconstruction of Brown's reading is followed by an attempt to read Mark 15:34 in explicitly intertextual terms, using Michael Riffaterre's semiotic theory. While the conclusions reached by this method are basically identical to Brown's, they are hopefully based on a more careful approach to the question of intertextual relations.
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Dyches, Jeanne. "Particularizing the Tensions Between Canonical and Bodily Discourses." Journal of Literacy Research 50, no. 2 (April 4, 2018): 239–61. http://dx.doi.org/10.1177/1086296x18765910.
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This case study tells the story of Geneva Wilson, an African American teacher of British literature. The study positions the entirely White male curriculum and Geneva’s Black female body as texts that embody oppositional dominant and nondominant Discourses. Findings reveal a contentious relationship between the categorical canonicity Geneva experienced, and was required to teach, and her body. Intertextual frictions complicated the culturally responsive practices she felt efficacious in actualizing. Geneva mitigated Discoursal incongruences by performing a secondary dominant Discourse and designing subversively culturally responsive experiences for her students. The study highlights the need to nuance and particularize the effects of canonicity and to situate investigations of White male curricula relative to literacy teachers’ storied existences and contextually specific teaching experiences.
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Choi, Do-sik. "A Study on the Contemporary Series Poems of Korea and the U.S: “The Raven” by Edgar Allan Poe and Gu Sang." Korean Language and Literature 121 (July 30, 2022): 175–207. http://dx.doi.org/10.21793/koreall.2022.121.175.
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This study compared and studied “The Raven” representing the United States and Korea. Edgar Allan Poe's “The Raven” and Gu Sang’s “The Raven” were considered in symbolic appropriation of poetic material, in series form, intertextuality and semantic horizons.
First, in the case of Poe, the choice of poetic material was ‘raven’ as a poetic material. This was intended to achieve the highest artistic effect. It also tried to best represent beauty. And the chorus "nevermore" was intended to maximize the poetic effect. On the other hand, Gu Sang chose the target of shock, impact, tension and emotion. The subject selected the raven as an allegory to criticize and inform the situation of the times.
Edgar Allan Poe symbolizes fear and fear, based on the image of an ancient sinister bird. And the raven symbolizes the person who rules and delivers the dark world in the Age of Chaos. Also, the appearance of a raven is symbolized by ‘nevermore’ as ‘mournful, never-ending recollection’. On the other hand, Gu Sang's “Raven” criticizes the times of materialism and technologyism. In Korea, the raven is an ominous bird. However, the raven is symbolized as a bird longing for a spiritual and pure soul. And it is symbolized as a bird that foretells injustice and calamity. It is also symbolized as a savior who can save humans from golden universalism and materialism.
Second, it is a series form. Poe transformed the sestina form of 6 lines and 6 stanzas into a finite series of 18 stanzas and 108 lines. On the other hand, Gu Sang has no external boundaries or external boundaries. He made it into an infinite series where only the theme changes. And Poe reinforces the negative expression with ‘nothing more’ (limited negation) < ‘nevermore’ (future negation) against the backdrop of the night. On the other hand, Gu Sang's poems are titled with numbers. The number does not impose a continuous development and process. It is united by the same rhetorical pattern(allegory), the same rhythm, and the same repetition.
Finally, in Poe's poem, he dreams of becoming one with his lost lover. However, he feels death, fear and loss from the raven who repeats only 'nevermore'. And the story and intertextuality of Greco-Roman mythology appear. Poe made a series of symbols and series of perpetually recurring sadness of loss. On the other hand, in the poems of Gu Sang, it is symbolized as a bird giving warnings and prophecies through cries. And the legend of the Tower of London in England is intertextual and denounces human cruelty and savagery. Gu Sang delivers the message of harmony between humans and nature, restoration of humanity, and saving lives.
As described above, the poems of Poe and Gu Sang are different in symbol and form. However, the sadness, mourning, and anxiety of the loss of an object are common.
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Kirschbaum, Heinrich. "Das letzte Wort. Prophetie und Postskriptum." Poetica 50, no. 1-2 (February 21, 2020): 131–59. http://dx.doi.org/10.30965/25890530-05001007.
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Abstract Peter Huchel’s poetics of ultimate isolation, in which the relationship between private fate and power comes to the fore, is constituted by allusions to allegorically decaying rudiments of peripheral legends and apocrypha. Thus, the traces of a poem by Huchel, which remained uncommented in research, lead to a ballad by Alexander Pushkin and further to the Old-Russian Chronicles. These three poetics, the chronical, the romantic, and the late modernist, formulate historically important ruler-writer constellations, negotiating metaphorical tensions between narration and figuration that go far beyond an intertextual intrigue.
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Pawłowska-Jądrzyk, Brygida. "Murky Images. The Poetics of Intertextual Dissonance in the Apocryphal Films of Andrei Zviagyntsev." Załącznik Kulturoznawczy, no. 2 (2015): 240–55. http://dx.doi.org/10.21697/zk.2015.2.13.
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The first two films of Andrei Zvyagintsev, The Return and The Banishment, deserve to be called modern apocrypha, as they methodically and comprehensively utilise elements of Christian symbolism and are part of the non- -canonical dialogue with religious messages. The films are characterised by a multiplicity of thematic plans that are outlined mainly through a variety of intertextual references. Among these relationships, a particular place is occupied by biblical and evangelical references, which are mostly mediated by artistic intertexts (especially paintings). The Russian director entangles the viewer in a subtle play of meanings: he evokes canonical scenes and stories, but distorts symbolic references, multiplying and confusing further interpretive clues. In addition to (completely inconsistent) references to the works of others, intertextual tensions are shown in his work on at least two levels: between different elements or levels of a given film (the function of the photograph motif next to the rest of the film text) and between the various films of Zvyagintsev himself (casting the same actor in both leading roles). The talented successor to Tarkovsky follows the mystery of human fate, eager to capture the metaphysical community of critical experiences. This mystery in the work of Zvyagintsev emerges in a quite obvious way from the eternal truths established in archetypes, in biblical and evangelical wisdom. It is much easier to see it in the fusion of ‛murky imagesʼ than it is to understand.
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Castaño, Jhon Fredy Lenis. "Frágil culpabilidad. El conflicto entre arrogancia moral y sabiduría trágica en Eurípides." Civilizar 12, no. 23 (July 1, 2012): 133. http://dx.doi.org/10.22518/16578953.107.
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En Eurípides se halla la tesis del carácter humano de la culpa y el castigo, convirtiendo la responsabilidad en un asunto inmanente a la vida de los hombres a pesar de las creencias religiosas. En este sentido la ley, las pasiones humanas, la racionalidad y la fe entran en una tensión que no ha dejado de darse empero la renovación moral de la modernidad. Este artículo se estructurará siguiendo algunos temas morales fundamentales de varias tragedias de dicho pensador desde una perspectiva principalmente genealógica y hermenéutica, haciendo un análisis intra e intertextual que permita poner en consideración la importancia de la sabiduría trágica para el aleccionamiento de una conciencia moral falible e histórica.
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Ravetti, Graciela, and Joyce Martins Pinheiro. "Tensiones intertextuales: “el infierno prometido”, de elsa drucaroff y “los siete locos”, de roberto arlt." Pontos de Interrogação — Revista de Crítica Cultural 2, no. 1 (November 6, 2015): 91. http://dx.doi.org/10.30620/p.i..v2i1.1698.
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ResumoEste ensayo, como producto parcial y en desarrollo de una investigación, se propone a apuntar y discutir ciertos aspectos de la novela El infierno prometido de Elsa Drucaroff en lo que respecta a la cuestión de la autoría femenina: la tensión inte rtextual del texto con las novelas de Roberto Arlt, Los siete locos y Los lanzallamas y el concepto de paternidad cultural y sus derivaciones.Palavras-chaveDrucaroff. Arlt . Intertextualidade. Paternidade cultural. Femi nismo. Autoria feminina.
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ROSS, JILL. "LANGUAGE, CULTURE, AND POWER IN GUILLEM DE TORROELLA’S LA FAULA." Catalan Review 35, no. 1 (June 1, 2021): 1–22. http://dx.doi.org/10.3828/catr.35.1.
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This article examines the role of French language and culture in the fourteenth-century Arthurian text, La Faula, by the Mallorcan, Guillem de Torroella. Reading the appropriation of French language and literary models through the lens of earlier thirteenth-century Occitan resistance to French political and cultural hegemony, La Faula’s use of French dialogue becomes significant in light of the political tensions in the third quarter of the fourteenth century that saw the conquest of the Kingdom of Mallorca by that of Catalonia-Aragon and the subsequent imposition of Catalano-Aragonese political and cultural power. La Faula’s clear intertextual debt to French literary models and its simultaneous ambivalence about the authority and reliability of those models makes French language into a space for the exploration of the dynamics of cultural appropriation and political accommodation that were constitutive of late fourteenth-century Mallorca.
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Michael, Matthew. "The Tower of Babel and Yahweh’s Heavenly Staircase." Horizons in Biblical Theology 39, no. 1 (March 20, 2017): 31–45. http://dx.doi.org/10.1163/18712207-12341343.
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The people of ancient societies and modern times have continually had an unusual fascination for tall structures. In the Hebrew Bible, however, gigantic structures rarely feature in the plotting of its stories. In contrast to this literary norm, the narrator of Genesis places two elevated structures at the center of his story, namely the tower of Babel (Gen 11) and the heavenly staircase at Bethel (Gen 28). In these two locations, the narrator appears to have situated the two structures above all the characters and the architectural landmarks of Genesis. Consequently, the paper engages the theological elevation of these two high-level spots in the creative mapping of Genesis’ subtle representations of human-divine tensions. While past studies have diachronically described the individual significance of these two vertical representations in Genesis, the present paper underscores the intertextual/theological importance of these two elevated structures in the narrative space of Genesis.
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Macaluso, Kati, Cori McKenzie, Jennifer VanDerHeide, and Michael Macaluso. "Constructing English: pre-service ELA teachers navigating an unwieldy discipline." English Teaching: Practice & Critique 15, no. 2 (September 5, 2016): 174–89. http://dx.doi.org/10.1108/etpc-02-2016-0035.
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Purpose The purpose of this paper is to describe a pedagogical innovation – a matrix construction exercise – intended to help pre-service teachers (PTs) navigate the multiple and oftentimes competing discourses that shape the school subject English Language Arts (ELA). Design/methodology/approach To explore the various ways the PTs drew on the discursively constructed paradigms of ELA throughout their teacher preparation program, researchers (themselves teacher educators) conducted an intertextual analysis (Prior, 1995) of PTs’ classroom texts and interview transcripts. Findings The intertextual analysis suggested that PTs possessed knowledge of and investment in a range of discourses, which they used to anchor their own pedagogical and curricular decision-making and to anticipate the leanings and ideologies of other stakeholders in ELA. Although the organizational schema of the matrix proved helpful from an orientation standpoint, it also may have disguised the productive tensions between particular discourses for some PTs. Originality/value Although scholars have long noted the plurality of the school subject English and some studies on innovations in teacher education allude to the difficulties that teachers encounter as they navigate the multiple purposes of ELA, there is little scholarship that considers how pre-service and beginning teachers might best navigate that incoherence and unwieldiness. This study, which contextualizes and explores a pedagogical innovation in an English methods class designed to help PTs navigate the many “Englishes”, attempts to fill this gap. The findings suggest that teacher preparation in ELA would do well to conceive of pedagogical innovations in teacher education that allow teachers to grapple with, rather than solve, the uncertainty and unfinalizability of the discipline.
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Malenfant, Paul Chanel. "Du Pays sans parole à l’âge de la Parole tenue." Dossier 24, no. 1 (August 29, 2006): 36–48. http://dx.doi.org/10.7202/201405ar.
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Résumé Dans le liminaire de Parole tenue, Yves Préfontaine désigne son oeuvre à la fois comme un monolithe et un chorus lyrique où s'assortissent les livres, à l'unisson. Le motif du bloc ainsi que l'effroi des dynamismes pulvérulents mis en texte dans le poème entérinent, au plan thématique, le programme formel. Fidèle à l'invite du poète, Paul Chanel Malenfant propose donc ici, balisée par la chronologie, une « saisie en bloc ». Il démontre comment cette poésie, placée sous le signe des désastres (cosmique, national, existentiel...), assume sa tension dramatique par le recours à une double opération matérielle : le décorum langagier et l'effraction verbale. Ces dispositifs, simultanés voire réversibles, oblitèrent ou décalquent l'état de discontinuité de l'univers sinistré. Ils exhibent aussi cette hantise de la viduité que Préfontaine partage avec Mallarmé et dont l'oeuvre semble avoir irrigué, par effet intertextuel, le parcours de Parole tenue. Chez Préfontaine, l'incantation obsédante du rien constitue une résistance à cette « parole de rien » : langue maternelle du « pays sans parole ».
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Mendoza-Canales, Ricardo. "Parodia y desmitificación en la poesía de Luis Hernández." Lexis 33, no. 2 (April 3, 2009): 255–86. http://dx.doi.org/10.18800/lexis.200902.003.
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A pesar de su aspiración por inscribirse dentro de una tradición poética de ascendencia moderna (romántica), la poesía de Luis Hernández revela una tensión interna producto de la fragmentación del sujeto posmoderno. El presente ensayo analiza el empleo de la parodia en la poesía de Luis Hernández como una estrategia discursiva que ejecuta un doble juego diseminador: por un lado, desmitifica las convenciones vigentes en su época acerca de la poesía (y la palabra) como un arte sublime y acerca del autor como reducto último del significado; y, por otro lado, abre el campo de sentido para incorporar referentes culturales e intertextuales que disuelven, en la praxis poética, la división entre alta cultura y cultura de masas.
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Rosario, Fari. "El rol de la memoria en la construcción del sujeto en la cuentística de Marcio Veloz Maggiolo." Ciencia y Sociedad 42, no. 1 (January 1, 2017): 25–43. http://dx.doi.org/10.22206/cys.2017.v42i1.pp25-43.
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Este artículo académico responde a la pregunta qué significado tiene la memoria en la construcción del sujeto en la cuentística del escritor dominicano Veloz Maggiolo. Desde la perspectiva del análisis del discurso —que valora, en esencia, el discurso como un proceso de construcción de conocimiento— se analizan seis cuentos representativos de dicho autor. En este trabajo se defiende la idea de que la exploración de la memoria es el fundamento de construcción del sujeto en los cuentos del escritor mencionado más arriba. De modo que el sujeto no se configura mediante acciones fácticas, sino mediante la memoria como eje de tensión y comprensión del mundo. El estudio ha sido posible en virtud de un modelo que describe y evalúa, de modo sistemático, elementos discursivos y estructurales en cada uno de los cuentos analizados. Se concluye que la memoria no solo construye y configura la subjetividad del sujeto (individual y colectivo), sino que se constituye en un elemento prototípico de la cuentística de Veloz Maggiolo. Por tanto la memoria tiene una función onírica, textual e intertextual.
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Terentowicz-Fotyga, Urszula. "Zagubione w Austen: Duma i uprzedzenie w postmodernistycznej odsłonie – między parodią a nostalgią." Przegląd Humanistyczny 63, no. 2 (465) (October 25, 2019): 151–60. http://dx.doi.org/10.5604/01.3001.0013.5520.
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The article analyses an ITV series Lost in Austen (2008), directed by Dan Zeff, as an example of postmodern play with Pride and Prejudice. Moving the contemporary heroine to the imaginary, textual sphere, the movie compares the reality of the 19th and the 21st century, emphasizing the visibly different positions of women. It not only “rewrites” the course of events, but also makes the tensions (which were previously silenced by the romance convention) more dynamic. Oscillating between the parody and nostalgia, Lost in Austen both continues and enriches Pride and Prejudice. Playful engagement with the original novel is the principal theme and motif of the series, but also the subject of its parodistic criticism. Lost in Austen engages both with the novel and with its 20th century reception. Moreover, by creative reinterpretation of the writer’s text, it shows the changing paradigms of the 20th century criticism and the cultural and literary theory. Highlighting the aspects of the novel important for the contemporary era, it initiates an interesting dialogue with the rich intertextual tapestry that contemporary popular culture weaved around Jane Austen.
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Palleiro, Maria Ines. "Retóricas de la corporalidad en un archivo de relatos orales argentinos." Revista del Museo de Antropología 11 (October 8, 2018): 35. http://dx.doi.org/10.31048/1852.4826.v11.n0.21459.
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<p>Me ocupo aquí de la retórica de la corporalidad en relatos orales que recopilé en investigaciones de campo en La Rioja, Argentina, relacionados con la mutilación corporal. Los agrupo en torno a matrices folklóricas, como modalidad de ordenamiento para identificar una poética de condensaciones metafóricas y desplazamientos metonímicos, en una tensión entre una lógica sinecdótica de fragmentación y la restauración simbólica de una completud corporal.<br />Vinculo tal retórica de la corporalidad con la configuración de identidades sociales, en las matrices “El mundo de abajo”, “Cairé” y “La niña sin brazos”. Examino la recontextualización de estas matrices en el contexto riojano, y destaco el valor del trabajo etnográfico para detectar conexiones intertextuales con creencias locales, que remiten a un modelo cosmovisional.</p>
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Halliday, Rebecca. "Conflicts of Interest, Culture Jamming and Subversive (S)ignifications: The High Fashion Logo as Locational Hip hop Artic." TranscUlturAl: A Journal of Translation and Cultural Studies 6, no. 1 (November 4, 2014): 70. http://dx.doi.org/10.21992/t9ww56.
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In 2012, a fashion line called “Conflict of Interest NYC” (C.O.I.) released a collection of three unisex t-shirts: each one took the brand name and/or logo of a storied fashion house and imposed a set of urban and hip hop references to subvert the brand’s refined, Eurocentric connotations. This article describes the t-shirts’ function as parodies using media studies accounts of culture jamming as political practice; Linda Hutcheon’s formulation of parody as literary method; and Henry Louis Gates’s outline of Signifyin(g) in the black oral vernacular tradition. It further contextualizes the t-shirts within historical tensions between dominant fashion institutions and hip hop culture at the semiotic level of the brand logo. It then reads the t-shirt containing the name BALLINCIAGA (manipulating the Paris fashion house Balenciaga) for its intertextual and historical relations to the expressive forms and urban locations of hip hop culture. Finally, the article examines a photograph of a fashion editor wearing the BALLINCIAGA t-shirt to London Fashion Week, in October 2012, as a moment of resistance but also of fashion re-appropriating the t-shirts’ political content. Still, the t-shirts’ circulation as commodities permits for reflection on the politics of fashion and subcultures within the dominant logic of capitalism.
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Walton, Theresa, and Susan Birrell. "Enduring Heroes: Hillary, Bannister, and the Epic Challenges of Human Exploration." Journal of Sport History 39, no. 2 (July 1, 2012): 211–26. http://dx.doi.org/10.5406/jsporthistory.39.2.211.
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Abstract On May 29, 1953 Edmund Hillary and Tenzing Norgay crested Mount Everest’s 29,035 peak, becoming the first men to do so. Nearly a year later, Englishman Roger Bannister ran the first sub-four-minute mile (May 6, 1954). In this paper we explore the intertextuality of the public discourses of Hillary and Bannister, focusing on the themes highlighted by the media to give their accomplishments particular cultural meanings within contemporary accounts. In their stories, both individually and in conversation with one another, can be seen the tensions, contradictions, and cultural work that heroic feats accomplish on behalf of nationalistic impulses. Everest and the four-minute mile are actually two of a triad of potent texts—the coronation of Elizabeth II on June 2, 1953, is the third—that are linked together intertextually through synchronicity, media narratives, and cultural imperatives. This confluence of events helped to define the culturally momentous impact of Hillary’s and Bannister’s accomplishments.
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Sechin, Anne. "Étude stylistique et philosophique de l’oxymore dans La belle ordure de Simone Chaput." Articles 28, no. 2 (August 1, 2016): 253–78. http://dx.doi.org/10.7202/1037176ar.
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Simone Chaput nous présente dans son roman La belle ordure (2010) un oxymore avant même que nous entrions dans le texte, puisque le titre lui-même est oxymorique et intertextuel. Comme à son habitude, Simone Chaput se distingue dans ce roman par la précision prenante de son style qui repose pourtant sur des outils simples, dont les échos créés par des tensions binaires apparemment inconciliables et les mêmes images qui reviennent presque obsessionnellement. Dans cette exploration du difficile rapport au réel, le lecteur oscille dangereusement entre, d’une part, la menace d’une mystification poétique, gratuite et esthète, et, d’autre part, la lucidité froide, implacable et cynique. Comment faire sens du bonheur? Comment l’horreur, au plan planétaire et au plan intimement individuel, peut-elle cohabiter si étroitement avec l’amour en plénitude, avec la compassion, la beauté, la générosité et le don de soi? Dans un roman où chaque mot ne prend son sens qu’avec son contraire, l’amour et la guerre, l’innocence et le savoir, le prédateur et la proie, la cruauté et la douceur, l’éphémère et le durable, le mythe et le réel, seule une intelligibilité oxymorique semble se frayer un chemin dans ces enjeux contemporains et leur négociation paradoxale.
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Hu, Jasmine. "Symmetry, Violence, and The Handmaiden's Queer Colonial Intimacies." Camera Obscura: Feminism, Culture, and Media Studies 36, no. 2 (September 1, 2021): 33–63. http://dx.doi.org/10.1215/02705346-9052788.
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Abstract The Japanese annexation of Korea (1910–45) implicates a crisis of representation in South Korean national history. Both the traumatic wounds and complex intimacies of Japan's rule over its Korean subjects were met with postcolonial suppression, censorship, and disavowal. This article examines Park Chan-wook's The Handmaiden (Ah-ga-ssi, South Korea, 2016), a period film set in 1930s Korea under Japanese rule, in relation to the two nations’ fraught but interconnected colonial and postcolonial histories. By analyzing the film's explicit sexual depiction through discourses of ethnicity, gender, and nation, it argues that the lesbian sex scenes encode and eroticize latent anxieties and tensions surrounding Japan-Korea relations, making explicit the ambivalent longing and lingering identification shared between the colonizers and the colonized. Furthermore, through intertextual reference to the intertwined and imitative relations between the national cinemas of Japan and Korea—relations mediated and elided by a long history of state censorship—Park's film repudiates an essentialist South Korean identity propped up by both nationalist narratives and market liberalization policies. Through palimpsestic projection of the colonial era onto South Korea's neoliberal present, the film invites parallels between colonialism's unresolved legacy and contemporary modes of cultural production. Simultaneously, the film offers a utopian vision of a national self that surfaces—rather than suppresses—the violence and pleasure incurred in confrontations with the colonial or transnational other.
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Melnikova, Irina. "Immersion between Semiotic Theories." Semiotika 17 (December 12, 2022): 110–61. http://dx.doi.org/10.15388/semiotika.2022.27.
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The paper focuses on the book of poetry immersion (2017) by Lithuanian poet Gytis Norvilas, maps the strategies of its reading within the framework of the semiotic-pragmatic approach, and considers the theoretical issues of the mapping. Despite the book cannot be unambiguously defined as an example of patterned poetry, it is configured in a specific way which exposes the functionality of the structural visual layer in written / printed poetry. This feature of the text in question inspires to revise the interpretation of the issue of iconicity and the configuration of the model of reading literature, proposed by the semiotic-pragmatic approach. The semiotic-pragmatic modelling combines Peircean and Jakobsonian ideas with minor insertions of Lotmanian thought (i.e. Johansen 2002), thus it links the ideas from the conceptual systems, based on different epistemological grounds (Peircean vs Saussurean notion of sign). It creates theoretical tensions that force to raise the question of how the transference of notions from one system to another changes their meaning, and where one could find the basis for overcoming or bypassing the controversies. The first part of the paper explores the theoretical tensions between Peircean, Jakobsonian and Lotmanian approaches to the issues of iconicity and attempts at revealing the fields of theoretical reasoning that help to define the ground of contradictions and see the way of their bypassing. Besides, it relates the discussion of iconicity with a discussion of the semiotic-pragmatic model of reading as iconization, based on the Jakobsonian idea of intersemiotic translation, and revises the model concerning the printed poetic text. The second part of the paper exemplifies the theoretical issues in the analysis of the book of poetry immersion. It examines the process of diagrammatization – the reading strategy, which makes the syntax of the text and that of the book the meaning-making devices, shows how diagrammatization semantizes the structure of the book, transforms the process of imaginization, and helps to identify the role of the book’s dialogue with hypotext to which both intertextual references and the structure of the text refer.
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Tiessen, Paul. "Memoir and the Re-reading of Fiction: Rudy Wiebe’s of this earth and Peace Shall Destroy Many." Text Matters, no. 1 (November 23, 2011): 201–15. http://dx.doi.org/10.2478/v10231-011-0015-6.
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Canadian novelist Rudy Wiebe's award-winning memoir, of this earth: A Mennonite Boyhood in the Boreal Forest (2006), invites readers into a warm subjective realm in which a meditative Wiebe (b. 1934) recounts his growing-up years from birth to age thirteen. As self-reflexive "rememberer," Wiebe explores the sensate freshness of a boy's ways of seeing, touching, and, not least, hearing the world. The young Wiebe lives with his parents and siblings and neighbours in an emotionally warm Christian community of 1920s immigrants to Canada who have fled from the Soviet Union in the wake of the 1917 Revolution and who struggle for economic survival in a remote corner of rural Saskatchewan during the 1930s and 1940s. But Wiebe's memoir of childhood is not only autobiography and social history; it is also a linguistic text that subtly invites readers to look beyond its textual boundaries to his earlier work. In particular, it has the effect of carrying alert readers back to the setting—at least physically and geographically if not altogether socially and culturally—of Wiebe's first novel, Peace Shall Destroy Many (1962). That early novel was a caustic work notoriously controversial especially among Mennonite readers in Canada when it appeared almost a half-century ago. The 2006 memoir—with intertextual allusion—invites readers to recall especially one layer of that early novel barely noticed by readers, a layer eclipsed and partially hidden by the dominant narrative. Specifically, it invites readers to see the virtually sinless and prelapsarian world of the idealistic young Hal Wiens whose idyllic life in the fictional spaces of Peace Shall Destroy Many goes unnoticed because it is so very much in the shadow of the doubts and tensions that inform the much larger world of his spiritually troubled older brother, nineteen-year old Thom Wiens. The memoir pushes readers into re-thinking the reception of that novel, and into finding anew beneath its severe and satiric treatment of the austere adult world the linguistic and spiritual joy of life given shape in the playful perceptions of the young Hal. The memoir becomes a stimulus for a transformational re-reading of the novel. This essay explores the two works in light of each other and of conventions that govern the two respective genres. It attempts, also, to account for the reading strategies that Wiebe's 2006 memoir proposes to readers of his first novel, and for key influences informing the two respective works.
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Vuksanovic, Ivana. "The fate of the postmodern world: On melancholy and rebellion by Milan Mihajlovic." Muzikologija, no. 21 (2016): 87–107. http://dx.doi.org/10.2298/muz1621087v.
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The musical oeuvre of Milan Mihajlovic (b. 1945) enjoys a high reputation and position in contemporary Serbian music. This has been proven by the many awards he has received, countless performances of his compositions at home and abroad, and especially by the warm and approving reactions of the audience. The stylistic consistency in his oeuvre is a result of his creative use of Scriabin?s scale. The concept of this scale was first theoretically elaborated in an extensive study written by Mihajlovic in 1980 and, since then the scale has been functioning as a crucial cohesive element in all Mihajlovic?s compositions. The novelty in his oeuvre, composed during the 1990s, were intertextual references made by using citations from his own works and those of other composers (Monteverdi, Mozart, Stravinsky, Rachmaninov, Vasilije Mokranjac). The most characteristic features of his mature style are also recognizable in his recent works Melancholy (2014) and Rebellion (2015). The interval structure of Skriabin?s scale is projected along the horizontal (melodical) and vertical (harmonical) axes of the both works while the formal design resulted from shifts of tensions and relaxations. Developmental sections are based on variation and improvisation of the small number of different motifs (three basic ones in Melancholy, four in Rebellion) above the metrically moveable ostinato layers and the releases are marked by change of tempo, dynamic, meter and texture. The most significant and radical release is the one which marks the abrupt ending of Rebellion by the physical gesture of slamming down the keyboard lid. As the composition was written for the BUNT festival (Belgrade) it fits the festival?s idea of expressing resistance to the government?s neglect of academic musicians and institutions. In the wider sense, it becomes a sign of the resistance to the world we live in, and that is the world of lost ideals. Both works are composed for the wind instrument and the piano quartet and in the both cases the author?s voice, with its figures of sorrow and anger, is personified in singing, narrative lines of the wind instrument (the oboe in Melancholy and French horn in Rebellion respectively). These two compositions also demonstrate the specific concept of a circle that is intuitively searched for and ingeniously implemented. It is manifested by the cyclic concept of Scriabin?s scale and projected in all of the author?s compositional procedures as a vehicle for the expression of lament and resignation.
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Nazarenko, Mykhailo. "THE AMBIGUITY OF INTERTEXT: SOURCES AND FUNCTIONS OF QUOTATIONS IN PAVLO ZAHREBELNYI’S NOVEL “I, BOHDAN (CONFESSION IN GLORY)”. PART ONE." Слово і Час, no. 5 (October 28, 2022): 94–106. http://dx.doi.org/10.33608/0236-1477.2022.05.94-106.
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The paper is the first part of a study on the poetics of intertext in Pavlo Zahrebelnyi’s novel “I, Bohdan”. The work by Zahrebelnyi vividly illustrates the difference between the intention of the author and the intention of the text. The writer’s self-commentaries were inevitably ideologically engaged, while the intention of the text, that is, the textual strategy of the novel, can be reconstructed. Special attention should be paid to the textual points where the senses are generated and tensions or contradictions between different levels of the text emerge — especially those between direct utterance and intertextual subtext. Thus, the definition of the intention of the text is at the same time its deconstruction, in the Derridian sense of the word. The unambiguity of the ideological content of the novel is greatly complicated by the introduction of the direct and hidden quotations and allusions to the writers who lived and worked long after Khmelnytskyi’s time. These authors may be Ukrainian (Skovoroda, Shevchenko, Franko, Kotsiubynskyi, Tychyna, Sosiura), Russian (Pushkin, Akhmatova, Pasternak, Bakhtin), European and American (Mickiewicz, Faulkner, Churchill). The narrator of the novel is Bohdan Khmelnytskyi, a monument in the Kyiv square and at the same time a hetman who’s dying in 1657. The hero exists beyond time and at every point in time. Anachronistic quotations contribute to the creation of the image of the hetman as the embodiment of all the Ukrainian history and culture in the world context. The narrator sometimes enters into a dialogue with the authors of the original texts and may argue with them. Numerous (or even all) literary versions of Khmelnytskyi’s image, in the Polish and Ukrainian paradigms, the late populist and the socialist realist ones, are presented as dubious or simply false. The main objects of controversy are Sienkiewicz (as the author of the novel most hostile to the hetman) and Shevchenko (as the author most critical towards Khmelnytskyi in the Ukrainian tradition). Bohdan as the founder of the new Ukrainian nation is equal to Shevchenko as a historical figure and prophet; the narrator of the novel, although he disagrees with Shevchenko’s opinion, still cites it. The reader, in the end, must decide for himself whom he trusts more and for what reason. Since Shevchenko’s ruthless words are quoted in the first chapter of the novel, the rest should be read in this — extremely ambiguous — ideological perspective.
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Perevolochanskaya, Svetlana Nikolaevna. "NOMINATION AS THE PRINCIPAL AXIS OF PUSHKIN’S THOUGHT." RUDN Journal of Language Studies, Semiotics and Semantics 10, no. 2 (December 15, 2019): 475–92. http://dx.doi.org/10.22363/2313-2299-2019-10-2-475-492.
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The article deals with the description of a modeling process of nominative units in A. Pushkin language; the units presenting a nominative field with certain value landmarks. The semantic valence of Pushkin`s word related to a primordial image (archetype) is shown in the ability to evolute extensively the meaning energy in a text prospect. The data for study were the units of two synonymic rows with the core units “ арап ” and “ негр ” functioning in A. Pushkin language. The study aimed at revealing the nomination specificity in the poet language, and characterizing the factors determining a nomination process. The author`s reflective vector in a language material analysis became evident at a deep symbolic level. An analytical procedure to reconstruct a meta-semantic text construct was based on a componential analysis combined with a contextual one, as well as on an interpretation technique and a descriptive method. The findings demonstrated the mentioned nominative units to have a specific axiological value, be implemented within the semantic areas “ своё ” (`my ancestors`, `pride of grateful descendants`) and “ чужое ” (`hostile world, which failed to comprehend and accept him`). And their semantic evolution specifies the text sign space arrangement. A nominative frame of Pushkin`s discourse is determined by a cross point of two destinies disconnected by time - the poet`s great grandfather, Abram Petrovich Hannibal, and Alexander Pushkin, a converging point of “racial” drama and public and creative loneliness drama of personalities rejected and unappreciated by their contemporaries. A semantic “tension” of the author’s idea, its dualism reaches the summit when the self-consciousness reason is fathomed: it is inside негр- арап opposition, where there is a semantic, and wider - a mental point haunting the poet’s reflecting consciousness. The conclusion appears to be conceptually significant: черный дед мой Ганнибал, <...> сходно купленный арап <...> Царю наперсник, а не раб . Semantic increments are exhibited against a rich association background of Pushkin cognition: the poet ‘models’ the text with abundant implication, where every “nominative hint” unfolds under the abundance of a semantic prospect. Major components of the process are intertextually loaded units - precedential names. Their usage forms the basis for a cognitive mechanism to convey implication through an “economical” nominative procedure. The study findings can be used to create semantic dictionaries of a complex type.
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Hawlin, Stefan. "“Ode on a Grecian Urn” and Browning’s “A Toccata of Galuppi’s”." Articles, no. 62 (July 29, 2014). http://dx.doi.org/10.7202/1026004ar.
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This essay identifies and explores the intertextual relationship between Browning’s crucial mid-career poem, “A Toccata of Galuppi’s,” and Keats’s “Ode on a Grecian Urn,” affirming the latter as the crucial inter-text for the former. “A Toccata of Galuppi’s” is revealed as a metatextual commentary, providing an interesting mid-nineteenth-century perspective on Keats’s ode, where we can see aspects of the tension in Browning’s sensibility between “Hebrew” and “Hellene” playing themselves out.
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Shen, Dan. "Non-ironic turning ironic contextually: Multiple context-determined irony in “The Story of an Hour”." Journal of Literary Semantics 38, no. 2 (January 2009). http://dx.doi.org/10.1515/jlse.2009.007.
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AbstractThis article defines and discusses a type of irony that has eluded existing classifications, namely, “context-determined irony.” Although existing types of irony – whether called “verbal” or “situational” or modified by some other terms – are in varying degrees related to context, none of them is really context-determined. Compared with verbal or situational irony, “context-determined irony” generates more textual tension and semantic density due to the co-existence of the conventionally positive meaning and the contextually determined ironic meaning. It is revealed that such irony implicitly permeates Kate Chopin's “The Story of an Hour” (A lady of Bayou St. John, Houghton, Mifflin and Company, 1894), a textual analysis that is backed up by intertextual and extratextual considerations.
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Weren, Wim J. C. "Messiaanse vredestichters: Intertekstuele relaties tussen Zacharia 9–14 en het Evangelie van Matteüs." HTS Teologiese Studies / Theological Studies 71, no. 1 (March 23, 2015). http://dx.doi.org/10.4102/hts.v71i1.2950.
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Messianic peacemakers: Intertextual relationships between Zechariah 9-14 and the Gospel of Matthew. This article deals with images of war, violence and peace and with the role of messianic leaders in Deutero-Zechariah and the way in which texts from Zechariah 9–14 have been interpreted in the Gospel of Matthew. The first section describes the lines of meaning in Zechariah 9–14 on the basis of word fields related to violence and universal peace. The second section discusses Deutero-Zechariah’s own position in the development of messianic expectations in Old Testament texts. In the third section, the question is asked how the meaning of texts from Zechariah 9–14 about messianic leaders has been influenced by earlier prophetic texts, and how these texts in their turn have been transformed and updated in the Gospel of Matthew, which contains explicit quotations from Deutero-Zechariah in 21:5; 26:15; 26:31 and 27:9–10. The fourth section summarises some interesting semantic shifts appearing in Matthew’s gospel compared to Deutero-Zechariah. Moreover, some critical comments are presented against the idea defended in some recent studies that there is a sharp tension between Jesus’s role in Matthew as the bringer of a peaceful ethical message, and his violent and vindictive role at the final judgement. At the end of this article, the burning question is raised whether Zechariah’s and Matthew’s messages, both of which are characterised by a certain degree of exclusivity, can play a constructive role in modern multi-religious discussions about common roads leading to global peace.
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Tañongon, Crina E. "Agribusiness Organizing in the Philippine South: The Intertextual Power Play of Weather and Market Agencies." Management Communication Quarterly, June 29, 2022, 089331892211119. http://dx.doi.org/10.1177/08933189221111909.
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This paper shows how an agribusiness in a remote agrarian village in the Philippines has been organized in traditional ways amid technological advancements and the free market. The paper draws on the Montreal School’s CCO approach, which holds that organizing begins at the level of interaction and that nonhumans make a difference in social formation. Through analyzing the text exchanges between farm actors, the paper surfaces the agencies of the most ventriloquized agricultural actants within their talks. Imagined in Bakhtin’s dialogical world, multiple voices were made to interplay across time and space creating tensions, on one hand, and facilitating the assimilation of similar qualities of ideologically differing voices, on the other. This paper stresses that the ideological difference of interplaying voices can be blurred in the process of assimilation or in the constitution of an organization. The “intertextual play of power” of multiple voices offers a postcolonial perspective in examining power in organization studies.
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Caldeira, Sofia P., Sofie Van Bauwel, and Sander De Ridder. "Photographable femininities in women’s magazines and on Instagram." European Journal of Cultural Studies, April 1, 2021, 136754942110031. http://dx.doi.org/10.1177/13675494211003197.
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This article explores the intertextual relationship between women’s glossy fashion magazines and Instagram. As the boundaries between the two formats are becoming increasingly porous – with visual conventions and discourses flowing bi-directionally between women’s magazines and Instagram – this article questions how they mutually reshape each other and the representations of femininities they carry. It explores the tensions emerging from these media’s distinctive ethos of gendered representation, and it questions how the politics of gender representation can be negotiated through aesthetic practices. This research empirically grounds these discussions in a multi-sited qualitative textual analysis, comprised of both a sample of 18 issues of three glossy women’s magazines’ titles (Cosmopolitan, Glamour, Vogue) and a sample of 77 randomly selected female ‘ordinary’ Instagram users (i.e. not celebrities or Insta-famous users), aged 18–35. Both Instagram and women’s magazines link gendered beauty to aesthetic values and the ability to look good in photographs, thus incentivising the pursuit of Instagrammable aesthetics. However, both formats can also highlight the everyday political potential of aestheticised representations. Relying on user-generated representations, Instagram has the potential to showcase a wider diversity of femininities, which can help to broaden the scope of who can be deemed photographable – an idea echoed by women’s magazines’ adoption of a popular feminist tone. These celebrations of diversity, reminiscent of strategies of visibility politics, and politicised discourses become materialised through aesthetic practices both within Instagram and women’s magazines. Yet, despite the emphasis on a social media-inspired feminist and political tone, political engagements on these media can also become enmeshed with postfeminist sensibilities, thus conflating fashion, beauty, and empowerment. This article explores how the on-going changes in these multi-layered and intertextual representational practices echo broader cultural and political transformations in contemporary visual cultures.
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Hays, Christopher Michael. "¿Buscar el bienestar de la ciudad, o marcharse mientras ella se quema? Lectura política e intertextual de Jr 29 y Lc 17 en relación con las crisis migratorias del siglo XXI." Theologica Xaveriana 71 (March 10, 2021). http://dx.doi.org/10.11144/javeriana.tx71.bbcmmq.
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Este artículo fusiona la exégesis crítica con la reflexión sociopolítica para mostrar cómo una tensión desafiante en las Escrituras puede nutrir respuestas matizadas a crisis sociales. Al comenzar con un estudio intertextual, se identifica que Lc 17,27-28 hace alusión y subvierte a Jr 29,5-7. Se nota que las actividades que Jr 29 encomienda a los exiliados en Babilonia (plantar, edificar, casar y dar en casamiento) son las mismas actividades criticadas por Lc 17, y que hay otras similitudes entre Lc 17 y Jr 32 y 35, todo lo cual revela que Lucas pretende contrastar la situación de su audiencia con la de los exiliados en Babilonia, y propone así una ética distinta para los discípulos de su época. Aunque el profeta animó a sus lectores exiliados a entregarse al desarrollo económico y familiar en Babilonia, el evangelista advierte en contra de preocupaciones mundanas que estorban su compromiso con el Reino. Se propone que esta tensión intracanónica facilita un acercamiento diferenciado a dos crisis migratorias actuales, aplicando la perspectiva de Jeremías para animar a las víctimas del desplazamiento forzoso en Colombia a echar raíces en sus sitios de llegada, y recurriendo a Lc 17 para criticar la deportación estadounidense de los migrantes indocumentados. Se justifica este acercamiento hermenéutico diferenciado por medio de un estudio de la actividad redaccional de Lucas (transformando las enseñanzas de Mt 24 y Mc 13 sobre el evento de la parusía a exhortaciones sobre cómo vivir de manera ética antes de la parusía) y de la polifonía ética de Jeremías (la cual se nota en los divergentes estilos de vida afirmados por Jr 16,2-4; 29,6; 35,6-7). Se argumenta que esta moralidad multifacética cuadra con una visión neotestamentaria equilibrada que caracteriza a los cristianos como exiliados y a la vez ciudadanos (Hb 11,13-14; 1P 2,1).
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Veidemann, Rein. "Jüri Talveti filoloogiline teekond: hispaaniakeelsest maailmast Eestisse ja tagasi / Jüri Talvet’s Philological Journey: from the Spanish-speaking World to Estonia and Back." Methis. Studia humaniora Estonica 14, no. 17/18 (January 10, 2017). http://dx.doi.org/10.7592/methis.v14i17/18.13209.
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Teesid: Artikkel esitab bio-bibliograafilise ülevaate luuletaja, esseisti, kirjandusteadlase, tõlkija ning õppejõu Jüri Talveti (s 1945) loomingulisest teest. Talveti kui erakordselt laiahaardelise loomingulise isiksuse panus hispaaniakeelse kirjandusruumi vahendamisel ja uurimisel Eestis on jätnud püsiva jälje. Tema viljeldava komparativismi keskmeks olev võrdlus ei piirdu üksnes võrreldavate objektidega, vaid viib põimumiste ja mõjutuste väljaselgitamisele ning uue sünteesini. Niisugune lähenemine võimaldab Talvetil esitada mitmeid eesti kirjanduskultuuri keskseid autoreid ja teoseid maailmakirjanduslikus kontekstis. Luuletajana esindab Talvet hingestatud intellektuaalsust, milles intertekstuaalsed osutused toimivad kultuuridevahelise sillana. The article presents a bio- and bibliographical overview of the creative work of Jüri Talvet (born in 1945) – a poet, essayist, literary scholar, translator and university professor. The creative scope of Talvet is exceptionally wide and his decades-long contribution to the mediation and exploration of the Spanish-speaking literary space in Estonia has left permanent traces. The comparative method cultivated by Talvet does not border merely on the literary texts considered but lead to the establishment of reciprocal impact and a new level of synthesis. Terms such as “symbiosis”, “symbiotic unity” and “synthesis” play an important role in Talvet’s contemplations of life, literature and culture; they are not only part of his epistemological ’toolkit’ but also represent a relation of value. In the semiotic approach such discourse may be viewed as the replacement of binary structure with a ternal one, a change elaborated already by Talvet’s most famous colleague Juri Lotman in 1992 when his intellectual testament Culture and Explosion was published: “Ternal structures retain certain values of the previous period by shifting them from the periphery into the centre.” For Talvet “the greatest literature of all times” has a symbiotic basis. Talvet’s approach to different literary cultures has enabled him to present several central authors of Estonian literary culture and their work in the context of world literature. One of the most outstanding results of such process is the re-discovery and re-conceptualization of the personality and the creative work of Juhan Liiv. Talvet’s method follows the theories of Mikhail Bakhtin and Juri Lotman, the essays of Michel de Montaigne’ and the 20th century existentialists Miguel de Unamuno, Albert Camus and Jean-Paul Sartre. Talvet’s “philological journey” is reflected best in his compilation and editing of the Spanish-Estonian Dictionary that was published in 1983. The other part of Talvet’s oeuvre is his mental and spiritual journey in which the philological undercurrent layer formed in Estonian, Spanish, Catalan and also in English performs as a threshold into literary cultures in the Estonian and other languages of the world. Everything based on it deserves deep respect: Talvet’s time as the lecturer and since 1992 the professor of world literature at the University of Tartu, his school of comparative literary research, founding of the Estonian Association of Comparative Literature together with international conferences and multi-language scholarly journal Interlitteraria; his essays carried by the ideas of enlightenment and spiritualism; his creative philosophical and poetic work, and his noteworthy research of Estonian literature highlighting the best creative works and their authors within the framework of world literature. From this aspect it is symptomatic that Talvet as a literary scholar completed his opus magnum in 2012, when the monograph on Juhan Liiv’s poetry was published. In the gallery of great Estonian learned men, poets and translators, the great predecessors of Talvet are Gustav Suits, Johannes Semper and Ants Oras. The intellectual affinity between Talvet and his friend Ivar Ivask is even more intense. “To understand “periphery” as a wider unit that is no less important from the intellectual aspect than the “centre”” – this is how Talvet summarises Ivask’s mission as a poet, an intellectual and the mediator of Estonian literature in the consciousness of the world (Talvet 2003: 524). This applies also to Talvet’s own spiritual and intellectual journey. In 2005, a collection of articles and essays of more than five hundred pages carries a poetic title The Irrefutable Border (Tõrjumatu äär), referring to the inevitability of crossing borders and multiple meanings of the proximity of the border. In Estonian poetry Talvet has positioned himself as a spiritually intellectual poet where intertextual manifestations act as an intercultural bridge. Yet the initial source of tension forming the basis of his imagery is still an individual’s emotionally experienced life. It corresponds to Talvet’s conception of genuine spirituality that “emerges from the depth of life [---] creates itself anew, does not let itself be “summarised” as complete or definite.”
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Pieper, Christoph. "Cosmopolitanism and the Roman Empire." Journal of Latin Cosmopolitanism and European Literatures, no. 5 (April 2, 2021). http://dx.doi.org/10.21825/jolcel.v5i0.16573.
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My article explores the tension between idealized cosmopolitan ideas, of a single citizenry for all people in the world, and imperial Roman nationalism between the late Roman Republic and the Italian Renaissance. In the form of three case studies (and without any claim that those are representative for the development) it focusses on three important thinkers whose work shows affinity with cosmopolitan discourse, but who at the same time also explicitly reflected on the political realities they were living in: Cicero, Augustine, and Lorenzo Valla. All three favour cosmopolitan ideals over political egoism, and all three reflect on whether and how the historical reign under which they are living can live up to the philosophical or theological ideals they advocate. Finally, all three authors do not only share similar discursive patterns, but also react to each other intertextually (links will be mentioned especially between Cicero and Augustine and between Augustine and Valla). Thus, while all three are distinct in their argument and use cosmopolitan concepts for hugely different aims, the comparison can share light both on the boundaries and the discursive power of the concept in Latin literature.