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Dissertations / Theses on the topic 'Intertextuality'
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Hallquist, Pola L. "Intertextuality as internal adaptation in Ann-Marie MacDonald's "Goodnight Desdemona (Good Morning Juliet)", Robert Lepage's "Le Confessionnal," and Atom Egoyan's "The Sweet Hereafter"." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape9/PQDD_0009/MQ61767.pdf.
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McMonagle, Catherine Ann. "Dancing feminisms and intertextuality." Thesis, Cardiff University, 2006. http://orca.cf.ac.uk/56134/.
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This thesis investigates representations of dancing women in three postmodern novels, arguing that their radical revisions of traditional texts offer readers steps to be taken in the future. Resistant and troublesome dances are deployed here to address feminisms, multiple and contradictory subjectivities and intertextuality. I suggest that a consideration of a nuanced view of multiple subjectivities can benefit women more than striving towards an illusory, autonomous identity. Intertextuality invites contemplation of the dance between different texts and the meanings invoked as a result. Not only are the texts' meanings unstable, but the novels themselves dance with other texts, taking them into account and departing from them by taking different steps their instability of meaning and lack of absolute origins and authority allows them to become sites of resistance to dominant values. My research primarily draws on work by Julia Kristeva, Roland Barthes, Jean-Francois Lyotard and Jacques Derrida. Eilis Ni Dhuibhne's The Dancers Dancing is a postmodern text, which deals with the influence of nationhood on Irish women, and in which Irish subjectivity confronts irreconcilable alternatives. This chapter poses the Irish dance as a space where a new generation can come to terms with their past and reconfigure it. Jeanette Winterson's Sexing the Cherry rewrites the tale of 'The Twelve Dancing Princesses' and in the process challenges patriarchal marriage and heterosexuality as norms. The text 'dances' between traditional and postmodern historical representations of seventeenth-century England, offering readers conflicting versions of history and time. In Margaret Atwood's Lady Oracle, the secret writing of gothic romances alerts readers to the influence of art on life. The novel takes into account, but steps beyond, those narratives that have encouraged readers to believe that they will have their feet cut off if they resist tradition. All three texts offer readers resistance to convention enlisting them in a metaphorical dance, where the steps are not known in advance.
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Maurer, Bernard. "Psalm 95 and intertextuality." Online full text .pdf document, available to Fuller patrons only, 2001. http://www.tren.com.
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Lamothe, Serge. "La tierce personne, roman ; suivi de L'intertextualité, un élément constitutif du processus de création littéraire." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2001. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/MQ57815.pdf.
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Pascone, Valeria. "Piramo e Tisbe, Narciso e Semele : tre miti ovidiani in Dante." Thesis, Grenoble, 2012. http://www.theses.fr/2012GRENL036.
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La thèse, intitulée "Tre miti ovidiani in Dante : Piramo e Tisbe, Narciso e Semele" est une analyse de la présence de ces trois fabulae des Métamorphoses dans l'œuvre de Dante. La sélection des mythes a été dictée par la nécessité de définir un champ aussi vaste et par l'intention de mettre en évidence la relation entre l'Eros et la Connaissances, qui est si important dans le système poétique et philosophique de l'auteur florentin.Cette étude se fie par ailleurs l'objective de souligner la manière dont Dante utilise le modèle d'Ovide: la rencontre avec la source classique prévoit un dialogue continu, à la fois textuel et théorique-conceptuel. Le mythe devient ainsi un récit qui faut démêler dans ses applications multiples et parfois contradictoires. En ce qui concerne les sources, une attention particulière a été accordée aux commentaires médiévaux sur les Métamorphoses. En particulier, les œuvres suivantes ont été gardées à l'esprit : le Allegoriae super Ovidii Metamorphosi de Arnolfo d'Orléans, le Integumenta Ovidii de Jean de Garland, l'exégèse de Giovanni del Virgilio et l'Ovide moralisé. Ce poème mythographique de la première moitié du XIVe siècle, même si postérieur, s'est révélé utile en vue d'une reconstruction de la réception du mythe après la Commedia. On a donc essayé de reconstruire la perception réelle que le Moyen Age avait du texte d'Ovide, en prenant également en compte la présence des fabulae dans la littérature vernaculaire antérieure ou contemporaine de Dante.L'ensemble de l'analyse tend à montrer comment, dans le voyage de perfectionnement de Dante, le concept d'Eros soit intimement lié à la possibilité d'une vraie connaissance, à condition qu'elle soit soutenue par la raison et la foiAnalysis of three ovidian myths in Dante's Comedy
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Hermansson, Casie Elizabeth. "Feminist intertextuality and the Bluebeard story." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape15/PQDD_0004/NQ35183.pdf.
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Yau, See-wing Catherine. "Intertextuality in Helen Lai's dancing texts." Click to view the E-thesis via HKUTO, 2007. http://sunzi.lib.hku.hk/hkuto/record/B38675754.
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West, Russell Brian. "Conrad and Gide : translation and intertextuality." Thesis, University of Cambridge, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.387504.
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Amaral, Tiago Kern do. "Intertextuality in Neil Gaiman's American Gods." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2016. http://hdl.handle.net/10183/143658.
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A presente dissertação consiste em um estudo do romance Deuses americanos de Neil Gaiman levando em consideração suas conexões a outros textos bem como inserções de diversos textos provenientes de outros trabalhos na prosa do romance. A proposta de leitura do texto de Gaiman segundo este trabalho utiliza os conceitos de intertextualidade e arquétipos de forma a analisar a relação entre a trama de Deuses americanos às várias utilizações de textos cuja escrita “original” não é atribuída ao autor do livro inseridos (ou referenciados) na prosa do romance. Embora o objeto de estudo seja comumente visto como um livro difícil de ser categorizado dentre de um certo gênero, a proposta desta dissertação é demonstrar que o movimento e o fluxo contínuo de discursos (textos) e estilos na prosa do romance remonta a uma visão de um estrangeiro sobre os Estados Unidos e como o país foi criado: ou seja, que ele é não somente um ponto geográfico de confluência de muitos povos, mas também de muitas crenças e culturas que, de um modo ou outro, trouxeram os seus deuses consigo. A análise do uso de intertextos, intratextos e arquétipos no romance está estruturada em três capítulos centrais: o primeiro contextualiza os mitos que aparecem no romance e discute a questão de gênero literário do livro, além do conceito de América no texto de Gaiman. O segundo capítulo examina o uso de mitos por Gaiman em relação a outros trabalhos, tanto os manuscritos antigos de crenças pagãs quanto instâncias mais modernas de mito e alegoria, além de estudar as conexões entre Deuses americanos e outros textos escritos por Gaiman de acordo com o conceito de intratextualidade proposto por Affonso de Sant’Anna. Por fim, o terceiro capítulo se concentra no uso pontual de intertextos no romance, organizando-os entre alusões literárias, referências à cultura pop, além de estudar o conflito entre a era digital e o antigo reinado da fé religiosa, sem deixar de investigar o uso de arquétipos e apropriação na prosa do romance. O trabalho, assim, tem como objetivo verificar a alegação de que a qualidade intertextual do romance é essencial tendo em vista sua trama e cenário, bem como a afirmação de que ele redefine o conceito da América do final dos anos 90 como um espaço multicultural, dinâmico e mítico.This thesis consists of a study of Neil Gaiman’s American Gods in the light of its connections to other texts as well as the punctual insertions of various texts from other works in the novel’s prose. The proposed reading of Gaiman’s text employs the concepts of intertextuality and archetypes in order to further analyze the relation of the plot of American Gods to the various uses of texts - that were not originally written by the book’s author – which are inserted (or alluded to) in the novel’s prose. Although the object of study is generally seen as a book that is hard to brand within a certain genre, this thesis’ approach to the novel demonstrates that movement and the continuous flow of speeches (texts) and styles in the novel’s prose comprises an outsider’s view of America and how the country came into existence – that is, that it is the geographical conflux not only of many peoples, but also of many beliefs and cultures, which in some way or other brought their gods with them. This examination of the use of intertexts, intratexts and archetypes in the novel is structured in three main chapters: The first chapter contextualizes the myths that appear in the novel and discusses the issues of genre and the concept of America in Gaiman’s text. The second chapter analyzes Gaiman’s use of myths in relation to other works – the original manuscripts of ancient beliefs as well as modern instances of myth and allegory – along with the connections between American Gods and Gaiman’s other works according to Affonso de Sant’Anna’s concept of intratextuality. Finally, the third chapter focuses on the punctual uses of intertexts in the novel, breaking them down into literary allusions, references to pop culture and the conflict between the digital era and the age of religious faith, and the use of archetypes and appropriation in the novel’s prose. At the end of the work, I aim to assert my belief that the intertextual nature of the novel is essential to its plot and setting, and re-defines the concept of late-90’s/early 2000’s America as a multicultural, dynamic mythical space.
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Bailey, Iain Andrew Aitchison. "Samuel Beckett, intertextuality, and the Bible." Thesis, University of Manchester, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.520492.
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This thesis takes up the question of intertextuality between the Bible and Samuel Beckett’s oeuvre. It starts with the contention that this relationship has acquired something of the status of a commonplace within Beckett studies; not that substantial scholarly works have not widened out considerably the way that this is understood, but in Ruby Cohn’s words: ‘today every Beckett student knows his literary allegiances—the Bible and Dante, above all’. The Bible’s status for Beckett comes to be treated as a matter of common sense. In response to this critical situation, one aspect of the thesis is to disclose and analyse previously overlooked examples of the Bible’s presence in Beckett’s work, engaging with hitherto occluded parts of the oeuvre (unpublished manuscript texts and the French works, for example). But at the same time, it looks to critically question what is at stake in the claim that the Bible is a matter of common knowledge for Beckett. The methodology put to work in the thesis always begins in close readings of Beckett’s texts, and also of the discourses surrounding his oeuvre. In doing so, it resists an idea that close reading entails a retreat into an ahistorical formalism; rather, it argues for an historicism that does not simply rest on broad notions of orthodoxy and shared values. Rather than taking for granted a common sense idea of what the Bible is (even in the limited sense of what it is for Beckett), the thesis argues for its instability as a ‘text’ across more than one language. Nor, I argue, does Beckett’s oeuvre fix down a particular, single notion of the Bible as the relevant one for its own purposes (the King James Bible, for instance); on the contrary, his work is deeply engaged with the Bible in all its complex, multilingual textuality. The thesis contends that the particular relationship between Beckett and the Bible poses distinctive problems for the kinds of epistemological value invested in a certain understanding of intertextuality; indeed, I look throughout to interrogate the authority invested in familiarity—both that of the author and that of the critic. Following this thread, the thesis also undertakes a sustained engagement with the way in which archival materials are used and valued by a critical practice interested in questions of intertextuality. Through this, I look to do two things at once: both to respond to the extraordinary value of archival documentation for opening up new possibilities within Beckett studies, and at the same time to analyse closely the extents and limitations of what can be claimed on the basis of such analyses. In working through these kinds of question, and responding to the particular exigencies produced by the Bible in relation to the Beckett oeuvre, I also engage with critical issues having to do with theories of affect, the notion of style (asking what it means to adduce some piece of text as ‘biblical’ or ‘Beckettian’), and the analysis of intertextuality in performance. Through all of these readings, the thesis is interested in what it means to read intertextuality in relation to a Beckett ‘oeuvre’, when the ambit of that oeuvre, its internal interrelationships and its points of connection with the world, constantly shift and reformulate themselves. Rather than treating the Bible as a thread that can be safely followed from one end of the oeuvre to the other, guaranteeing a continuity that remains free from the complexities, irruptions and discontinuities performed in Beckett’s texts, the thesis argues that biblical intertextuality is actively involved in those complex Beckettian movements.
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Burr, Benjamin J. "Intertextuality in the Fiction of Cormac McCarthy." Diss., CLICK HERE for online access, 2006. http://contentdm.lib.byu.edu/ETD/image/etd1374.pdf.
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Buckley, Chloe Alexandra Germaine. "Nomadic intertextuality and postmillennial children's Gothic fiction." Thesis, Lancaster University, 2016. http://eprints.lancs.ac.uk/80277/.
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Since the turn of the twenty first century, Gothic has emerged as one of the most popular forms in which to write for children. Although children’s literature critics and educational professionals were once dubious about the value of scary stories for children, postmillennial Gothic has begun to receive critical praise as well as mass market popularity. This thesis explores an emergent critical discourse that champions children’s Gothic alongside a variety of examples of the form. I argue that postmillennial children’s fiction employs metafictional reflexivity and explicit intertextuality, opening out into an expansive Gothic landscape. Unhoming its protagonists, readers and critics, postmillennial children’s Gothic challenges existing paradigms in both children’s literature criticism and Gothic Studies. Foremost, this fiction disrupts accounts of children’s literature that assign the form a pedagogical function, and that construct the child reader according to linear narratives of maturation offered by psychoanalysis and ego-relational psychology. In place of the ‘psychoanalytic child’, postmillennial children’s Gothic imagines a nomadic subject, constructing child protagonists and readers across a multiplicity of subject location and identities. There is not one child, but multiple figurations. The transgressive and liberating energies of Gothic play a part in this rejection of traditional figurations of the child. However, postmillennial children’s fiction also challenges critical commonplaces in Gothic Studies. The nomadic project of children’s Gothic runs counter to the melancholic figuration of subjectivity offered by a deconstructive psychoanalytic discourse that informs some analysis of Gothic literature. Unlike the tragic subjectivity of the Gothic wanderer, the nomad offers an affirmative figuration of being. The nomad is transformed through interrelationships with others, likewise transforming the locations through which it travels, suggesting new ways of reading Gothic. Taking its cue from Rosi Braidotti’s theory of nomadic subjectivity, this thesis engages productively with a variety of children’s texts published since 2000, reading them against existing criticism. I offer my analysis of these texts as part of a creative process that imagines non-unitary, non-binary figurations of subjectivity, and seeks to reformulate notions of reading and becoming.
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Penninkilampi, Kai. "Intertextuality : Death in Brunswick : novel into film /." Title page and introduction only, 1993. http://web4.library.adelaide.edu.au/theses/09AR/09arp414.pdf.
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Butcher, John. "Poetry and intertextuality : Eugenio's Montale's later verse /." Perugia : Volumnia, 2007. http://www.loc.gov/catdir/toc/casalini07/07331363.pdf.
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Rim, Dohyun. "Shakespeare and Yeats's plays : impact, influence, intertextuality." Thesis, University of Liverpool, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.491355.
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This is a study of the multi-faceted relationship between the plays of Shakespeare and W.B. Yeats. While existing studies have tended to focus on the question of poetic influence, this thesis argues that specifically theatrical questions were also at the heart of Yeats's interest in Shakespeare, and shows that these dramatic concerns were closely bound up with the system of thought Yeats developed in A Vision. Moreover, this thesis resists the limitations of an emphasis on the problematic question of influence by taking an intertextual approach that sets the plays of the two dramatists alongside one another, and examines them in terms of the wider framework of Yeats's theoretical writings. In doing so the thesis reflects the cyclical structure ofA Vision. Chapters One and Two assess the respective uses given to thresholds and masks by the two playwrights. It examines their development by Yeats as a means to representing the struggle between subjectivity and objectivity, and looks at how Yeats finds a critical stimulus for his concern with these devices in Shakespeare. The threshold is seen to originate in physical lines of demarcation on the stage which later become more sophisticated and less literal representations of liminality. Masks are considered as the functional successors to thresholds in Yeats's plays, and again both their physical and symbolic contributions are examined. Both devices are shown especially to reflect the symbolic tendencies of Shakespeare and Yeats. While masks offer one way in which a character's anti-self can be suggested, Chapter Three analyses the comparable achievement of the play-within-a-play. This self-consciously theatrical set-piece is shown to be employed by Shakespeare and Yeats as a way of confronting on-stage audiences with parallel and alternate versions of their selves. Chapter Four surveys two interlocking dramatic devices: the subplot, which is used to mirror and comment upon the main plot, and 'Shakespeare's Myth', which pairs contrasting characters in order to mutually enhance the audience's understanding of them. These devices posit subjective and objective qualities against each other. The Fool is considered as representative of subjectivity in Chapter Five, which looks at how both Shakespeare and Yeats conceive of the Fool as subversive of conventional wisdom. The analysis of self and anti-self of preceding chapters is extended. Chapter Six explores tragic joy, which is experienced by the hero in his acceptance of death. It is shown how the themes of liminality, destiny and subjectivity are conjoined in the act ofputting on a mask to confront death. In recapitulating the material of the preceding chapters the Conclusion argues that what Shakespeare and Yeats share is an interest in the subjective conflict of the soul as opposed to a concern for practical objective appearance. Shakespeare's ability to represent the soul is a great inheritance for Yeats as a symbolist dramatist because the soul is, to him, a constant subject of drama and the only subject of symbolism. The continuation of the anti-naturalistic dramatic tradition in twentieth century absurdist plays is regarded as a legacy of Shakespeare and Yeats. Supplied by The British Library - 'The world's knowledge'
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Fairhall, Adam Leslie. "Intertextuality and the dialogic principle in jazz." Thesis, Manchester Metropolitan University, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.496183.
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This PhD project examines the central issue of intertextuality and dialogism m jazz trom a range ot critical, analytical and practical perspectives. A Lcal vocabulary drawn from theories of 'codes', including work in the fields of intertextuality studies and semiotics, is applied to the study of jazz performance in order to further expand on theories of signifyin' already popular in jazz studies. The concept of 'code-mixing' is central to the thesis, and various methods by which jazz musicians juxtapose and blend codes, often representative of different cultural areas, are identified and analyzed using notated examples.
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Appleton, Rosemary Jane. "Intertextuality and Gender in C.U.L. MSFf.1.6." Thesis, University of Oxford, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.503969.
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Bracker, Nicole. "Rewriting Robinson Crusoe : excessive economies of intertextuality." Thesis, University of East Anglia, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.365165.
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Roienko, L. "Intertextuality as general mechanism of text creation." Thesis, Київський національний університет технологій та дизайну, 2021. https://er.knutd.edu.ua/handle/123456789/18286.
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Sisson, Michael Drew. "Intertextuality in the poetry of Pedro Shimose." The Ohio State University, 1994. http://rave.ohiolink.edu/etdc/view?acc_num=osu1265300683.
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Sisson, Michael. "Intertextuality in the poetry of Pedro Shimose /." Connect to resource, 1994. http://rave.ohiolink.edu/etdc/view.cgi?acc%5Fnum=osu1265300683.
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Brandström, Felicia. "Intertextuality as a politeness strategy : A qualitative study of the use and function of intertextuality in the television series Suits." Thesis, Stockholms universitet, Engelska institutionen, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-100265.
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This paper investigates the use and function of intertextuality in the television series Suits, and examines the interplay between intertextuality and politeness. Intertextuality allows a text to incorporate other texts and to draw upon connotations that belong to those texts. Politeness theory offers a tool to analyse the pragmatic use of language in social interaction. Analysing occurrences of intertextuality from the first episode of the television series, the paper explores in what ways the fictional characters use intertextuality and for what purposes. It explores if, and how, intertextuality can be used as a politeness strategy. Findings suggest that intertextuality is used for three main purposes, and functions as characterisation and as a means to establish and/or maintain social relations. Detailed analyses of instances of intertextuality propose that intertextuality can be used as a politeness theory, but only in certain ways. The paper discusses these findings and offers a possible explanation for why intertextuality is only used in this restricted way.
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Eriksson, Katarina. "Life and fiction : on intertextuality in pupils' booktalk /." Linköping : Tema Barn, Univ, 2002. http://www.bibl.liu.se/liupubl/disp/disp2002/arts251s.pdf.
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Wells, Elizabeth Ruth Rebecca. "Refiguring the island space : Robinson Crusoe and intertextuality." Thesis, Royal Holloway, University of London, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.251736.
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Panagiotidou, Maria-Eireini. "Intertextuality and literary reading : a cognitive poetic approach." Thesis, University of Nottingham, 2012. http://eprints.nottingham.ac.uk/14310/.
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The goal of this thesis is to propose a cognitive approach to intertextuality. Intertextuality has attracted the attention of a number of literary scholars interested in discussing the interrelations between literary texts without, however, focusing on how readers create these connections. On the other hand, despite its reader-oriented approach, cognitive poetics has largely neglected the concept. This project employs recent developments in the field of cognitive linguistics and cognitive psychology and proposes a multi-layered approach to intertextuality in the light of the principles of cognitive poetics. The main part of the thesis draws on the cognitive notion of frames defined as online processing domains. I propose that readers create intertextual links by combining their background knowledge with textual elements in intertextual frames. Three types of frames are identified: semantic, topical and stylistic. The term 'semantic frame' refers to the more impressionistic links that emerge from the identification of a single lexical item, while the term 'topical frame' refers to more complex constructions built by readers through the identification of multiple textual elements. The term 'stylistic frame' refers to links based on quotation identification or genre similarities. A variety of literary texts will be discussed in order to illustrate how these frames may be created. The final part of the thesis is dedicated to the investigation of the relationship between intertextuality and the emotional engagement of readers with literary texts reflecting recent directions in cognitive poetics. This is accompanied with a mixed methods study designed to present empirical data on how readers construct intertextual links and on the effects these have on the reading experience. The overall aim of this project is to provide the foundations and the theoretical point-of-entry for further related research.
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Eriksson, (Barajas) Katarina. "Life and Fiction : On intertextuality in pupils’ booktalk." Doctoral thesis, Linköpings universitet, Tema Barn, 2002. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-15146.
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This study examines booktalk, that is, teacher-led group discussions about books for children in a Swedish school. The empirical data comprise 24 hours of videorecorded booktalk in grades 4–7. In total, 40 children (aged 10–14 years) were recorded during 24 sessions. The present approach diverges from previous readerresponse studies in that it draws on authentic data, and in that it examines talk at a micro level, applying an approach from discursive psychology. By focusing on authentic book discussions, the study contributes to the development of readerresponse methods. All eight books applied in the booktalk sessions involved some type of existential issue: freedom, separation, loyalty, and mortal danger (Chapter 4). Yet, such issues were rarely discussed. An important task of the present thesis was to understand why such issues did not materialise, that is, what did not take place. In Chapter 5, a series of booktalk dilemmas were identified. The booktalk sessions were generally lively and informal. Yet, booktalk as such was often transformed into other local educational projects; e.g. time scheduling, vocabulary lessons or reading aloud exercises. Gender was invoked in all booktalk sessions (Chapter 6). In line with predictions from reader-response theory, progressive texts were, at times, discussed in gender stereotypical ways. The findings also revealed a generational pattern in that the pupils discussed fictive children in less traditional ways than adult characters. The interface between texts and life was invoked in all booktalk sessions (Chapter 7). There was, again, a generational pattern in that children entertained ideas other than those of their teachers concerning legitimate topics in a school context. Also, the discussions revealed a problem of balance between pupils’ privacy, on the one hand, and engaging discussions on texts and life, on the other.
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Malik, Rachel Yasmin. "Fixing meaning : intertextuality, inferencing and genre in interpretation." Thesis, Middlesex University, 2002. http://eprints.mdx.ac.uk/13472/.
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The intertextual theories of V. N. Voloshinov, Mikhail Bakhtin and the early Julia Kristeva provide the most convincing account of the processes of textual production, conceived as constitutively social, cultural and historical. However, the ways in which intertextual accounts of reading (or 'use') have extended such theories have foreclosed their potential. In much contemporary literary and cultural theory, it is assumed that reading, conceived intertextually, is no simple decoding process, but there is little interest in what interpretation, as a process, is, and its relations to reading. It is these questions which this thesis seeks to answer. The introduction sets the scene both for the problem and its methodological treatment: drawing certain post-structuralist and pragmatic theories of meaning into confrontation, and producing a critical synthesis. Part one (chapters one to three) elaborate these two traditions of meaning and stages the encounter. Chapter one offers detailed expositions of Voloshinov, Bakhtin and Kristeva, contrasting these with other intertextual theories of production and reception. Chapter two examines inferential accounts of communication within pragmatics, focusing on Paul Grice and on Dan Sperber and Deirdre Wilson's Relevance theory. Chapter three stages an encounter between these radically different traditions. A common ground is identified: both are rhetorical approaches to meaning, focusing on the relations between texts, contexts and their producers and interpreters. Each tradition is then subjected to the theoretical scrutiny of the other. Inferential theories expose the lack of specificity in intertextual accounts which completely ignore inferencing as a process. Intertextual theories reveal that text and context have semantically substantive intertextual dimensions, most particularly genre and register (conceived intertextually) which are ignored by inferential theories. Text and context are therefore far more semantically fixed than such theories suppose. Both traditions ignore the role of production practices other than 'speech' or 'writing', i.e. they ignore how publishing practices - editing, design, production and marketing - constitute genre and shape reading. In Part Two (chapters four to six), the critique is developed into an account of interpretation. Interpretation, conceived intertextually, is significantly, though not exclusively, inferential, but inferential processes do not 'work' in the ways proposed by existing inferential theories. Patterns of inference are ordered by the relations between discourses (in Foucault's sense) and genres in the text, the reader's knowledge and the conditions of reading. Chapter four elaborates the concepts required for such an account of interpretation, centring on the role of publishing processes and the text's material form in shaping interpretation. The limits of existing accounts of the edition and publishing, specifically Gerard Genette's Paratexts and work in the 'new' textual studies, call for a more expansive account of how publishing shapes genre and interpretation. Chapters five and six develop two case-studies which extend these concepts and arguments. These examine two contemporary publishing categories: 'classics' (Penguin, Everyman etc.) and literary theory textbooks (Introductions and Readers). Through the detailed analyses of particular editions, I develop and substantiate a stronger and richer account of interpretation as process and practice and its relation to reading. This is expanded in the final chapter.
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Pritchett, Elizabeth Reed Jackson. "Vital texts : democratic intertextuality in Dorothy Richardson's 'Pilgrimage'." Thesis, Keele University, 2017. http://eprints.keele.ac.uk/3868/.
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'Pilgrimage' (1915-1938/67), Dorothy Richardson’s long modernist novel of female consciousness, has a history of mischaracterisation. The first novel to be termed stream of consciousness, Pilgrimage offers an account of New Woman, Miriam Henderson, as she comes of age in fin-de-siècle Britain and becomes a writer in the first decades of the twentieth century. Adhering strictly to Miriam’s consciousness, Pilgrimage is often read as a byword for high modernist style: hermetic, elitist, and anti-democratic. By examining the power relations behind Pilgrimage’s other key formal system of representation, not stream of consciousness but intertextuality, this thesis offers a new understanding of Pilgrimage as a vital text of democratic modernism. Dialogic, diffuse, and dissensual, Pilgrimage’s intertextuality provides a counter-balance to the novel’s stream of consciousness, revealing the diverse and polyphonic voices of which Miriam’s subjectivity is composed. By staging its intertexts in relation to the perceiving subject, Pilgrimage constructs a space of democratic intertextuality: a space between texts where hierarchical distinctions between text and intertext, author and reader, self and other break down. This in turn points to the need for other equally open spaces of representation to emerge for women, not just in the artistic sphere but also in the socio-political arena. Using four case studies – Pilgrimage’s recourse to the personal letter, Charlotte Brontë’s Villette, Richardson’s nonfiction for The Crank and The Saturday Review, and Beethoven’s Sonata Pathétique – this study examines how the intertextual replaces distinctions between ‘high’ and ‘low’ art with an understanding of art as a node of intersubjective connection and play. Moreover, by dramatising the acts of reading and interpretation, Pilgrimage reframes textual ‘value’ in contingent terms that invite readers to apply the same principles to itself. As such, Richardson’s novel of the single female consciousness opens itself up to the processes of democratic contestation, debate, and reform.
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Al, Saideen Bassam M. "Translating Intertextuality as Intercultural Communication| A Case Study." Thesis, State University of New York at Binghamton, 2018. http://pqdtopen.proquest.com/#viewpdf?dispub=10929286.
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Intertextuality refers to the textual space where texts intersect and new (hyper)texts emerge. It is the shaping of a text’s meaning by other (inter)texts present in it. As a literary device taking forms like allusion, quotation, pastiche, translation, etc., it depends on the presupposition of the presence of intertexts (or hypotexts) in (hyper)texts and on the reader’s recognition of such presence. For the recognition of intertexts, authors usually rely on shared cultural knowledge with the reader. The presence of intertexts in a text can either open it to interpretations or direct the reader towards a one in particular. If such recognition can possibly be missed intraculturally, the possibility is doubled when the reading is intercultural, as in translation. To minimize the loss of the intertextual context of the source text (ST), translators adopt certain translation strategies (such as analogous intertexts, paratextual devices, and exegetical translation) that ensure such context is relayed into the target text (TT) and recognized by the target reader. While the semantic equivalence can neutralize the linguistic difference, relaying the intertextual relations in the ST remains the daunting problem encountered by the translator.
I argue in this dissertation that intertexts, particularly Quranic references, in the Arabic novel are a source of semantic density and pose a considerable challenge to the translator. Since semantic equivalence alone does not guarantee that the ST intertextual relations are maintained in the TT, a synthesis of other translation strategies is required to relay the ST intertextual relation into the TT. Drawing on Kristeva’s (1986) ‘vertical intertextuality,’ Fairclough’s ‘manifest intertextuality’ (Momani et al., 2010), Derrida’s ‘iterability’ and ‘citationality’ (Alfaro, 1996), Bakhtin’s ‘reaccentuation’ or ‘double-voicing’ (Kristeva, 1986), I opted for paratextual devices to ensure that the TT reader will capture those relations. Bracketed explanations were used extremely economically to avoid producing an enlarged translation.
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Troyer, Scott R. "Layers of Meaning: Intertextuality in Early Anabaptist Song." University of Cincinnati / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1471254121.
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Brunner, Julia. "Christa Wolf's "Hamlet" intertextuality in Christa Wolf's "Kassandra" /." Access to citation, abstract and download form provided by ProQuest Information and Learning Company; downloadable PDF file, 132 p, 2009. http://proquest.umi.com/pqdweb?did=1885467551&sid=7&Fmt=2&clientId=8331&RQT=309&VName=PQD.
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Polaski, Donald C. "Authorizing an end : the Isaiah apocalypse and intertextuality /." Leiden : Brill, 2001. http://catalogue.bnf.fr/ark:/12148/cb37718280q.
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Caminero-Santangelo, Byron. "African fiction and Joseph Conrad : reading postcolonial intertextuality /." Albany : State university of New York press, 2004. http://catalogue.bnf.fr/ark:/12148/cb40052366r.
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Annavini, Silvia. "Intertextuality and Intratextuality in the Pessoan Epic: Mensagem." Doctoral thesis, University of Trento, 2011. http://eprints-phd.biblio.unitn.it/464/1/Tesi_definitiva.pdf.
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The thesis is articulated in three main chapters which try to explore how the dynamics of intertextuality is translatable, within the Pessoan oevre, also in an intratextual manner. Actually, I tried to explore progressively how the system of literary genres combines with the Pessoan introjection and subversion of literary genres and models.
In the first chapter I focused on the relationships between the Sebastianist myth and the Portuguese imperialism both from a diachronic and synchronous perspective trying to pinpoint the consequences this issues acquire in a literary ambit. I took under consideration the relationship with the Camonian epic model and attempted to demonstrate that the revision of the Camoes' pattern stems from a much profounder need to revise the Lusitanian imperialistic ideal. Moreover, I have also scrutinezed the presence and the echoes of the European historical avant-gardes affecting Alvaro De Campos' Odes' epic tendencies.
The second chapter is more centered on the influence of some Victorian poets upon Mensagem's texturing and which is mainly perceivable through the analysis of some Victorian devises such as the use of "persona" developped by a few Victorian poets such as Robert Browning and futher on amplified by some modernist poets such as T.S. Eliot and Ezra Pound for instance and, emblematically exasperated by Pessoa in his distinguishing heteronymia. Interestingly, this feature reveals itself particularly pivotal to Mensagem's structuring as it affects the Pessoan weaving of his Luistanian modernist epic as well.
In the third chapter, I took under consideration the influence of brief genres upon Mensagem, some of which are typical of Classicism, such as epitaphs, epigrams, and epitaphs on Pessoa's epic imaginary. Furthermore, in spite of the undeniable ascendancy of fragment upon the Pessoan production, the bewitchment for classicism Pessoa shows in many critical essays finds a concrete form by the poetics of Antonio Mora, Alberto Caieiro and Ricardo Reis but also offers a possible interpretative chink in Mensagem as well.
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Rocchi, Rainier. "L'oeuvre de Nathalie Sarraute à l'épreuve de l'intertextualité." Thesis, Nice, 2014. http://www.theses.fr/2014NICE2005.
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L’intertextualité devrait permettre d’appréhender l’œuvre sarrautienne dans ses contradictions structurelles, réflexivement représentées, dans son évolution problématique, dans sa spécificité littéraire. Une première partie, analytique, met en évidence le régime moderne de l’emprunt, à travers l’étude de deux Nouveaux Romans emblématiques (Portrait d’un inconnu, Le planétarium), tandis que s’amorcent, avec « disent les imbéciles » et Ich sterbe, un tournant autobiographique et une restauration de la directivité auctoriale, caractéristiques des derniers opus. Une seconde partie, synthétique, retrace le contexte culturel de l’emploi figuré du mot tropismes ; s’efforce de répondre à l’objection qui oppose la composition d’Enfance à la discontinuité fragmentaire des autres livres ; propose d’identifier, dans la « sous-conversation », la réécriture d’une forme de dialogue commenté que Proust, héritier de Balzac, a perfectionnée, mais qui devient, chez Sarraute, le lieu d’une déconstruction littéraire du soupçon moderne, où son œuvre peut trouver sa cohérence thématique et stylistique comme sa pertinence historique en se mesurant à un paradigme majeur du XXème siècle. Enfin, un Répertoire des allusions est joint en Appendice pour illustrer la densité de l’intertexte sarrautien, de Tropismes à Ouvrez. – Manifestant la radicalité d’une recherche expérimentale, d’un « tâtonnement aveugle dans le langage », l’intertextualité offre un point de vue critique sur l’œuvre sarrautienne, permettant de saisir comment le projet littéraire, à la fois psychologique et poétique, d’un auteur se réfléchit et s’épuise dans les tensions souvent extrêmes de ses textes indécidables, à l’inapparente opacité, attendant de l’avenir d’imprévisibles métamorphosesIs Intertextuality a permanent (even a structural) component of the Nathalie Sarraute’s writing? To maintain this critical position, we should first scrutinize how the intertextuality system, especially in Portrait of a Man Unknown and in The planetarium, is strongly perturbing the narrative conventions and promoting a reflexive approach of the text; while Fools say and Ich sterbe show an autobiographical evolution and a restoration of the author’s directivity; then some examples from a missing Index of References based upon the whole of the Sarrautean oeuvre should confirm the extent of intertextuality; in a second section, we should relativize the originality of the sarrautean tropisms by studying how the traditional forms of dialog or fragment are renewed by such a rhetorical “estrangement”. So, with the question of intertextuality, we could realize how a literary project become distorted by the practice of writing, since the Sarraute’s post-romantic conceptions heavily contrast with the modernist features of her works, which is a deciding factor of their aporetic ambiguity
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Keim, Katharina Esther. "Pirqei deRabbi Eliezer : structure, coherence, intertextuality, and historical context." Thesis, University of Manchester, 2015. https://www.research.manchester.ac.uk/portal/en/theses/pirqei-derabbi-eliezer-structure-coherence-intertextuality-and-historical-context(5a243982-b0b3-4209-9cba-1b58cfb40210).html.
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The present dissertation offers a literary profile of the enigmatic Gaonic era work known as Pirqei deRabbi Eliezer (PRE). This profile is based on an approach informed by the methodology theorized in the Manchester-Durham Typology of Anonymous and Pseudepigraphic Jewish Literature, c.200 BCE to c.700 CE, Project (TAPJLA). It is offered as a necessary prolegomenon to further research on contextualising PRE in relation to earlier Jewish tradition (both rabbinic and non-rabbinic), in relation to Jewish literature of the Gaonic period, and in relation to the historical development of Judaism in the early centuries of Islam. Chapter 1 sets out the research question, surveys, and critiques existing work on PRE, and outlines the methodology. Chapter 2 provides necessary background to the study of PRE, setting out the evidence with regard to its manuscripts and editions, its recensional and redactional history, its reception, and its language, content, dating, and provenance. Chapters 3 and 4 are the core of the dissertation and contain the literary profile of PRE. Chapter 3 offers an essentially synchronic text-linguistic description of the work under the following headings: Perspective; PRE as Narrative; PRE as Commentary; PRE as Thematic Discourse; and Coherence. Chapter 4 offers an essentially diachronic discussion of PRE’s intertexts, that is to say, other texts with which it has, or is alleged to have, a relationship. The texts selected for discussion are: the Hebrew Bible, Rabbinic Literature (both the classic rabbinic “canon” and “late midrash”), the Targum, the Pseudepigrapha, Piyyut, and certain Christian and Islamic traditions. Chapter 5 offers conclusions in the form of a discussion of the implications of the literary profile presented in chapters 3-4 for the methodology of the TAPJLA Project, for the problem of the genre of PRE, and for the question of PRE’s literary and historical context. The substantial Appendix is integral to the argument. It sets out much of the raw data on which the argument is based. I have removed this data to an appendix so as not to impede the flow of the discussion in the main text. The Appendix also contains my entry for the TAPJLA database, to help illuminate the discussion of my methodology, and a copy of my published article on the cosmology of PRE, to provide further support for my analysis of this theme in PRE.
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Chaudhuri, Amit. "Text and intertextuality in the poetry of D.H. Lawrence." Thesis, University of Oxford, 1993. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.243302.
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Jones, Bethan Mari. "Shaping, intertextuality and summation in D.H. Lawrence's last poems." Thesis, University of Nottingham, 1998. http://eprints.nottingham.ac.uk/12028/.
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This thesis, entitled ‘Shaping, Intertextuality and Summation in D. H. Lawrence's Last Poems’ , is the first full-length study of the poetry written by Lawrence in 1928-30, posthumously labelled ‘More Pansies’ and ‘Last Poems’ by Richard Aldington in 1932. My opening chapter discusses the characteristics of these two late poetry notebooks, challenging interpretations offered by Holly Laird and Christopher Pollnitz. I argue for the necessity of moving beyond an analysis limited to the consideration of poem sequences within a verse-book, or the evolution of individual poems through draft-stages. This conviction provokes a discussion of intertextual theory, in order to establish an approach which will facilitate the placing of Lawrence's late poetry in wider contexts. The resulting methodology aims to combine an empirical selection procedure in which intertexts are chosen according to key triggers or signposts within Lawrence-text, with an awareness that such selection is arbitrary, constituting an inevitable retrospective ordering. Chapters 2-7 each focus on a specific text, area or genre in which significant intertextual assimilation is identified. In chapters 2 and 3, four crucial poetic precursors - Keats, Shelley, Swinburne and Whitman - are discussed, both in relation to Lawrence's blatant allusions, and in terms of the insidious ‘weaving’ of precursive text into Last Poems. Chapter 4, emphasising that intertextuality should be recognised as spanning genre divisions, focuses on the significance of the pre-Socratic fragments published in John Burnet's Early Greek Philosophy. Chapter 5, also foregrounding prose intertexts, discusses three relevant anthropological works: E. B. Tylor's Primitive Culture, James Frazer's The Golden Bough and Gilbert Murray's Five Stages of Greek Religion, in relation to the poems advocating a conscious 'return' to different modes of writing and living. In Chapter 6 the term ‘intra-textuality’ (self-borrowing) is introduced, with Sketches of Etruscan Places as the focus. Lawrence's writing (in addition to his wide reading) on the Etruscan civilisation is seen to underlie fundamental mythological aspects of Last Poems. Intra-textuality remains the focus of Chapter 7, which discusses Apocalypse (the only major work written by Lawrence after Last Poems) as well as numerous related intertexts, in order to illuminate Lawrence's use of key apocalyptic symbols in the late poetry. The concluding chapter considers whether or not the posthumously imposed title Last Poems is appropriate, and whether this ‘body’ of verse can be treated justifiably as a summation of Lawrence's life and/or art. The short prologues to the 1930 edition of Birds, Beasts and Flowers, and the prose poem 'Fire', are brought into play as texts which succeed Last Poems, taking Lawrence's (freeverse) poetry writing in new directions. My interrogation of the concept of ‘fastness’ provokes a consideration of the implications of creative immortality and the possibility of different kinds of renewal, or ‘fresh starts’.
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Watkin, Carole M. "Mulching down : intertextuality in the novels of William Golding." Thesis, Keele University, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.263195.
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Sibona, Bruno. "Mazeppa's horse : a case study of Anglo-French intertextuality." Thesis, University College London (University of London), 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.286185.
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The aim of this thesis is to reassess the value of the horse-figure in the tale of Mazeppa. The study begins with an attempt to establish the status of the tale as a Romantic myth in Western European culture and identifies four texts as a corpus of study: Voltaire's Histoire de Charles XII, roi de Suede, Lord Byron's Mazeppa, its translation into French by Amedee Pichot and, finally, Victor Hugo's 'Mazeppa' from his collection Les Orientales. Using methodologies derived from the history of ideas, psychoanalysis, and contextual and intertextual approaches, it is proposed that these four texts form a chain of meaning. The texts are examined at symbolic, structural and textual levels. At these levels, the concepts of the 'centaur complex' and the 'Pegasus complex' are introduced, enabling the outline of the horse as a representation of poetic inspiration and genius to emerge. This appears implicitly or explicitly in the texts and is effected through a dialectical process of fusion and inversion occurring within the man-animal relationship. As a result, the horse becomes not only a thematic link, or 'bridge', horizontally tying the chain of texts together, but it also endorses, within each text, a deeper, vertical function supporting metapoetic meaning and thus reaching the field of poetic ontology. The figurative horse is the 'real' creative surge for each writer within himself and between each text. Poetic creation springs from a hollow wound which the horse, representing the urge of expression, comes to fill and heal. This language transcends nationalities, but, as the story of Mazeppa was written both in English and in French, and also for other methodological reasons, the thesis is distinctively comparative. However, the double function of the horse implies that each text is studied on its own as well as in relation to the other texts of the corpus.
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Maciel, Katia Augusta. "Film, popular music and television : intertextuality in Brazilian cinema." Thesis, University of Southampton, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.494969.
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The thesis examines the effects of the cross-fertilisation between cinematic, musical and televisual texts on depictions of two emblematic Brazilian social space - the favela (shantytown) and the sertão (arid backlands) - in recently released independent and mainstream domestic productions. I argue that through processes of intertextuality recent Brazilian films have gradually transformed the favela into a widely exposed, lucrative but also productively challenging spectacle. Similarly, the iconicity of the sertão has been resignified allowing a new understanding of the region to emerge. My analysis of recent films set in either the favela or the sertão also proposes that different elements, such as traditional and modern, local and non-local cultural forms, are not simply blended into a single hybrid filmic text. As these elements coexist and traverse the cinematic landscape in the contemporary moment, I insist on the fact that the idea of national culture, in Brazil as well as elsewhere, must be considered in relation to ever-changing contexts rather than in relation to prescriptive ideologies. My research contributes to reassessing Brazilian cinema history by exploring key examples of the aesthetic, constitutional and cultural interaction between popular media in the country. The reassessment allows me to challenge established distinctions between art and popular cinema, to propose more productive ways of understanding how different media can support their mutual development, and to highlight the implications of intertextuality for new expressions of brazilidade (Brazilianness). The discussion is based on an intertextual analysis of four recent domestic films: Cidade de Deus (City of God, 2002), Lisbela e o prisioneiro (Lisbela and the Prisoner, 2003), O invasor (The Trespasser, 2001) and Baile perfumado (Perfumed Ball, 1997). I examine elements of the mise-en-scène (mainly set design and performance), editing and soundtrack to identify cross-media references.
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TORTIMA, FLAVIA IRIARTE. "ANYTHING INTERMEDIATE: INTERTEXTUALITY IN THE WORK OF ADRIANA CALCANHOTTO." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2013. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=30040@1.
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PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIROCOORDENAÇÃO DE APERFEIÇOAMENTO DO PESSOAL DE ENSINO SUPERIOR
PROGRAMA DE SUPORTE À PÓS-GRADUAÇÃO DE INSTS. DE ENSINO
Essa pesquisa é o resultado de um estudo sobre a figura e a obra de Adriana Calcanhotto. Cantora, letrista e compositora brasileira, seu trabalho vem se caracterizando, sobretudo, por transitar nas fronteiras entre o erudito e o popular, a arte de vanguarda e a cultura de massa. Suas realizações vão desde musicar poemas de Carlos Drummond de Andrade, Waly Salomão, Antonio Cícero, Ferreira Gullar, Mário de Sá-Carneiro, Haroldo e Augusto de Campos e vestir os Parangolés de Hélio Oiticica (artistas relacionados à arte de vanguarda), até gravar canções relacionadas à tradição do kistch e do brega, consumidas em larga escala através dos meios de comunicação de massa. O movimento dessa artista nos faz pensar imediatamente na reflexão proposta por José Miguel Wisnik em seu conhecido ensaio A Gaia Ciência, em que o ensaísta e compositor defende a música popular brasileira enquanto espaço legítimo de construção de saber. Dessa forma, procuro pensar o trabalho de Adriana a partir dessa ótica, sinalizando esse espaço lúdico que a artista constrói, capaz de articular conhecimento e sensibilidades. Para tal, procuro analisar letras de canções, figurinos, cenários e repertórios de show, declarações dadas à imprensa etc. Em uma segunda etapa, reflito acerca do paradoxal processo (para o qual aponta Antoine Compagnon) de dessacralização da arte e fetichização do autor na modernidade, e que se acentua no cenário contemporâneo, em que o artista passa a atuar na construção de uma imagem (de uma persona artística), transformando o próprio corpo também em suporte artístico. Nesse cenário, atravessado permanentemente pela mídia e pela exposição, em que noções de público e privado, essência e aparência, se confundem, nublam-se também as fronteiras entre arte e vida.
This research is the result of a study of the figure and work of brazilian composer Adriana Calcanhotto. Singer, lyricist and composer, her work has been characterized mainly by transit at the borders between the classical and popular, the mass culture and avant-garde art, with achievements ranging from poems set to music by Carlos Drummond de Andrade, Waly Solomão, Antonio Cicero, Ferreira Gullar, Mário de Sá-Carneiro, Haroldo and Augusto de Campos, and wear the Parangolés of Hélio Oiticica (artists related to avant-garde art), recording songs related to tradition and kistch s corny, consumed largely by the means of mass communication. The movement of this artist makes us think immediately in the discussion launched by José Miguel Wisnik known in his essay A Gaia Ciência, in which the essayist and songwriter of brazilian popular music advocates as legitimate space for building knowledge. Thus, I reflected of the work of Adriana from that perspective, signaling this playful space that the artist builds, able to articulate knowledge and sensitivities. To this end, I analyze the lyrics to songs, costumes, sets and repertoires show, speaking to the press etc. In a second step, I intend to reflect on the paradoxical process (pointed by Antoine Compagnon) of desecration of art and the modern fetishization of the author, and which increases in the contemporary scene, in which the artist goes to work on building an image (an artistic persona), transforming their bodies also artistic support. In this scenario, constantly traversed by the media and by exposure, in which notions of public and private essence and appearance, are confused, clouds are also the boundaries between art and life.
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Wee, Leonard Kong-Hwee. "Beyond the echoes : extending the framework for biblical intertextuality." Thesis, Durham University, 2012. http://etheses.dur.ac.uk/6968/.
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Although the framework for biblical intertextuality currently used by R.B. Hays and his followers has contributed much to our understanding of the role of the OT in the Pauline letters, it does not account fully for the ways in which the OT writings are used. In addition to the explicit citation and the more implicit allusion and echo, this dissertation argues that the framework should be extended to include the use of Scripture as an ideational resource, as well as the use of the Narrative Summary as a literary device. By revisiting the idea of intertextuality expounded by Kristeva, the hermeneutical framework devised by Schleiermacher, and to a lesser extent borrowing from the ideas of de Saussure, Boyarin and others, a broader model of biblical intertextuality that includes the use of Scripture as an ideational resource is developed. While the analysis of biblical intertextuality under Hays’ framework relies on the presence of verbal correspondences in the texts, the proposed approach includes analysing Paul’s texts in the light of the ideational resources that his readers who are ingrained in the cultural codes of Scripture would have understood. The method is then demonstrated using Rom 9:1-3, where the wider signification of the OT in Paul’s writing has not been sufficiently analysed thus far. Next, a framework for analysing Paul’s use of the Narrative Summary is developed. Comparison is made with a group of writings known as the rewritten Bible, which are found mainly among the Dead Sea Scrolls. Despite certain similarities, there are fundamental differences as well. Applying the developed framework on the analysis of seven specimen texts (Rom 4:1-25; Gal 4:21-31; Rom 9:6-13; 1 Cor 10:1-13; 2 Cor 3:7-18; Rom 9:4-5; Rom 11:1-6), the study reveals that they share substantially the same features, and departures from these are largely accounted for by Paul’s use of the Narrative Summary as a literary device. This shows that the Narrative Summary is a specific intertextual category that deserves to be treated separately.
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Bargroff, Adam. "John McGahern and the American connection : intertextuality and masculinity." Thesis, Queen's University Belfast, 2014. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.669546.
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The thesis offers a comparative analysis of the fiction of John McGahern (1934-2006) and explores transatlantic and gendered aspects of his work. It argues for the development of a varied cultural and communicative network between Ireland and America throughout McGahern's career as a writer, primarily investigating patterns of encounter with texts by American writers in his fiction. Case studies provide definitive and speculative arguments for his experimental incorporation of American intertexts, reimagining Ireland th~ough the lens of another culture. On a secondary level, his construction of masculinity is clarified by the comparisons between Irish and American texts. His fiction represents a struggle between male generations in mid-twentieth-century Ireland, following the experiences of the younger generation into the latter half of the century. The semiotics of masculinity and its expression in his prose operates through intertextual engagements, literary manners, and stylistic clarity. The first chapter investigates how and why in 'Korea' from Nightlines (1970), his first collection of short stories, McGahern principally constructs the intergenerational dynamic between father and son around 'Indian Camp' from In Our Time (1924), Ernest Hemingway's first collection of short stories. The second chapter examines thematic possibilities surrounding male aggression and passivity that arise from placing other texts by Hemingway in admittedly speculative but productive tension with 'The Key' and 'Peaches', two stories from Nightlines. The third chapter explores McGahern's fascination with Herman Melville's short story 'Bartleby, the Scrivener' (1853), which informs the representation of male autonomy in 'Christmas' from Nightlines as well as metatextual concerns in 'Doorways' from Getting Through (1978). The fourth chapter argues for intertextual correspondences between McGahern's That They May Face the Rising Sun (2002), Hemingway's The Sun Also Rises (1926), and Henry David Thoreau's Walden (1854), in their shared concern with the male subject's experience of loss and his immersion in the local. The conclusion turns to Memoir (2005), indicating further applications of a gendered thematic to McGahern's intertextual practice.
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Burton, Brian. "'A forest of intertextuality' : the poetry of Derek Mahon." Thesis, Durham University, 2004. http://etheses.dur.ac.uk/1271/.
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Kolb, Paul Lawrence. "Intertextuality, exegesis, and composition in polytextual motets around 1500." Thesis, University of Oxford, 2013. http://ora.ox.ac.uk/objects/uuid:aaf9f53a-196e-4fc0-8ffb-e37b3353f1d4.
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Over 450 motets survive from the fifteenth and sixteenth centuries which were composed with multiple simultaneously sounding texts. The size of this repertory has been underestimated and its importance under-acknowledged. Narratives of the genre overemphasize early fifteenth-century (and earlier) polytextuality due to its association with arcane rhythmic structuring techniques while stressing a new musical-textual ideal later in the century. This thesis is the first attempt to address the repertory of polytextual motets from the late fifteenth and early sixteenth centuries as a whole. It resituates polytextuality as a central aspect of the genre even after the supposed rise of musical humanism. It suggests a new partitioning of the repertory based on different relationships of texts and cantus firmi. It proposes that the function of cantus firmi shifts during this period toward acting in dialogue with the text(s) of the other voices, even though this dialogic aspect fades away by the mid-sixteenth century. It engages in case studies on small groups of motets, in which the notation, composition, and texts of motets are analyzed, especially concerning cantus firmi as elements of musical structure and as bearers of liturgical, biblical, devotional, and other associations. While scholars have undertaken numerous analyses of individual motets, less common are case studies which ask both why certain texts and cantus firmi were combined and how they were integrated into the musical structure. The appendix includes a catalogue of the repertoire of polytextual motets and chansons with Latin cantus firmi over this period, with indexes by cantus firmus and composer. Also included are transcriptions of seven polytextual compositions without published editions. My research demonstrates the importance of polytextuality within the genre, the sophistication of the compositions using it, and its ability to provide commentary on a number of theological, devotional, political, and aesthetic issues.
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Hanaghan, Michael Peter. "Intertextuality and allusion in the epistles of Sidonius Apollinaris." Thesis, The University of Sydney, 2014. http://hdl.handle.net/2123/12810.
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Bishop, diplomat, letter-writer, poet and saint, Sidonius Apollinaris was an incredibly influential author in fifth-century Gaul. In Sidonius’ epistles literary allusions are employed to great and varying effect. This thesis examines Sidonius’ use of literary allusions in selected epistles, chosen to show the variety of their use. The first chapter examines how Sidonius alludes to programmatic remarks by other authors to develop his own unique programmatic message. Chapter two argues that Sidonius’ allusions in Ep. 1.5 (which describes his journey from Gaul to Rome in 467CE) amount to a critique of the destabilization of the Roman Empire in the West. The third chapter argues. Sidonius’ response to the controversial Gallic presbyter and philosopher Claudianus Mamertus carefully avoids philosophical debate by praising him in deliberately superficial terms, using allusions to refute and distance himself from Claudianus’ polemical claims with minimal offense. Chapter four analyses Sidonius’ allusion to a plethora of other descriptions of buildings and art in Latin literature to create a complex ecphrasis of his villa which balances claims for humility with aristocratic display. The final chapter argues that Sidonius uses literary allusions in his last letters to ameliorate the reception of his early poetic career by linking his poetics to his prose corpus. These letters have been chosen to demonstrate the broad range of authors and texts which constitute Sidonius’ allusions; to show his use of allusions cover a range of literary strategies; and to demonstrate his literary reaction to changing events, spanning his epistolary career, from the first letter of book one circulated in the 460s, to the last letter of book nine, distributed in the last years of his life in the 480s. During this period Sidonius became a bishop, Clermont-Ferrand fell to the Visigoths, and the last Roman emperor in the West held office.
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Summers, Sam. "Intertextuality and the break from realism in DreamWorks Animation." Thesis, University of Sunderland, 2018. http://sure.sunderland.ac.uk/9180/.
Full textAbstract:
This thesis contextualises and historicises the contribution of DreamWorks Animation to the dominant aesthetic of contemporary American feature animation from the early 2000s to the present day. Specifically, it aims to justify the claim that mainstream feature animation has shifted away from hyperrealism and towards a form of ‘narrative-cartoonalism’ predicated on non-visual departures from realism. The thesis introduces this term to counteract the focus on the visual in conceptions of animated realism, and aims to identify the extent to which the DreamWorks studio played a key role in this shift, particularly through its use of intertextuality. Tracing the history of intertextuality in animation from the 1920s to the present day, the thesis looks to establish DreamWorks’ position within this lineage by closely examining the studio’s use of star performances, contemporary music, generic pastiche and allusive comedic gags in its features, and discussing the various diegetic contradictions that result. Ultimately, I intend for this thesis to contribute a crucial approach to understanding one of the key studios working during a hugely significant period of western feature animation, not only illuminating the output of Dreamworks but of this period as a whole. Culturally important yet critically neglected, research into the aesthetics of this modern era is essential to the progression of animation studies.
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Tsoi, Sze-pang Pablo, and 蔡思鵬. "Modes of intertextuality in The waste land and Ulysses: two contrasted cases." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2003. http://hub.hku.hk/bib/B31381467.
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Kawamoto, Akitsugu Covach John Rudolph. "Forms of intertextuality Keith Emerson's development as a "crossover" musician /." Chapel Hill, N.C. : University of North Carolina at Chapel Hill, 2006. http://dc.lib.unc.edu/u?/etd,66.
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Thesis (Ph. D.)--University of North Carolina at Chapel Hill, 2006.Title from electronic title page (viewed Oct. 10, 2007). "... in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Musicology in the Department of Music." Discipline: Music; Department/School: Music.