Intertextuality – instances of texts linking to other texts – is a key concept with which CDA accounts for discursiv...

The observation that certain biblical texts (receptor texts) appear to draw upon others (source texts) has long captivated the interest of biblical scholars. This fascination has given rise to various distinctions regarding textual interdependence. While some scholars emphasise the importance of authorial intent, others remain sceptical of such interpretations. A closer examination reveals that the ways in which authors of receptor texts engage with source texts differ considerably. A detailed reading of the Gospel of Matthew reveals extensive connections to the (...) First Testament, particularly in the form of fulfilment citations explicitly mentioned by the evangelist. However, this article focuses on the subtler and more implicit use of Moses imagery within the text. It appears that Matthew uses Moses imagery to characterise Jesus, though the extent of this portrayal remains a matter of scholarly debate. Does the author intentionally reinterpret and reappropriate Moses imagery to present Jesus as a new Moses, or does this imagery simply reflect traditional Jewish expectations of redemption prevalent in the socio-historical context of the time? Contribution: This study examined the presence of Moses imagery in Matthew’s birth narrative. To accomplish this, it first explored the complexities of intertextuality within biblical texts, followed by an analysis of how Moses imagery is employed in Matthew 1–2. The aim of this article is to contribute to the ongoing scholarly discourse on the intertextual and hermeneutical strategies employed by the evangelist. (shrink)

Intertextuality (mutual illustration) is a common rhetorical device in ancient Chinese and has been used many times in Laozi (Dao Dejing). Intertextuality (mutual illustration) is of unique significance for understanding the linguistic structure and philosophical thoughts of Lao-zi. According to the current research on mutual illustration rhetoric on ancient Chinese, the forms of this rhetoric in Laozi can be divided into mutual illustration of single sentence, of multiple sentences and of ellipsis and antisense. There are only two references (...) to mutual illustration in the annotations of Laozi in the past dynasties, and most of the commentators ignore the importance of mutual illustration in understanding Laozi. By interpreting Laozi through mutual illustration rhetoric, we can make innovations in understanding methods, understanding contents and philosophical thoughts. (shrink)

During the years of the _Querelle des femmes_ there was an important growth of texts in defense or in deduction of the female cause. One of the main characteristics of this literary trend lies in the reciprocal relationships that the works establish among themselves, through a dense network of intertextual references. The _Dialogo Della Dignità e della nobiltà delle donne _(1624) by Cristoforo Bronzini fully adheres to the intertextual practice which it puts at the service of historical-cultural memory. This article (...) analyzes the intertextual relationships of the seventeenth-century treatise with works by writers such as Lucrezia Marinella, Moderata Fonte and Isabella Cervoni, highlighting the different functions that intertextuality fulfills in the texts of the _Querelle des femmes._. (shrink)

This paper examines within the theoretical framework of intertextuality the mobilization of glocalization as an international marketing strategy in Nike’s and Adidas’s 2008 advertising campaigns in China. Intertextuality is seen as a form of mediation through which the glocalization strategy conducted within the domain of global marking is taken up in the domain of advertising communication. The paper also assumes the interrelations of intertextual performance to value orientations and group affiliations. By analyzing intertextuality in relation to affinity (...) groups, it aims to resolve to some extent the conundrum of Nike’s more successful than Adidas in the sportswear market of China in a social-semiotic perspective. Two print ads constituting a representative example of the corpus were selected for a qualitative analysis. The comparative analysis of intertextuality reveals the contrasting methods of glocalization applied by Nike and Adidas in their 2008 advertising campaigns, thus offering an explanation for Nike’s triumph in competition with Adidas in China. (shrink)

Eco, Chopin, and the limits of intertextuality -- The appeal to structure -- On codes, topics, and leaps of interpretation -- Bloom, Freud, and Riffaterre : influence and intertext as signs of the uncanny -- Narrative and intertext : the logic of suffering in Lutosawski's Symphony no. 4.

This paper seeks to explore the various verbal (linguistic) interactions within the intersemiotic environment of the museum exhibition space. Drawing on notions of intertextuality in the social semiotic tradition such as those developed by Lemke, it begins with a theoretical account of intertextuality in the bilingual museum, before focusing more specifically on two case studies from museums in the PRC and Hong Kong in which Chinese language Source Texts are accompanied by corresponding English language Target Texts. In each (...) case the paper considers the particular relations that obtain between these co-spatially situated Source Texts, the strategies through which such intertextual usage is mediated in translation, and how the intertextual relationships of the Source Text cluster are reconfigured in the correspondent Target Text cluster. A number of factors are identified in the translation process, including discoursal shifts, re-prioritization and redistribution of Source Text material across different Target Texts, and the use of alternative types of lexicogrammatical repetition that seek to create a different form of recapitulation in translation, whether to correct perceived shortcomings in the original ST relationships, or for reasons of cultural or museological convention. (shrink)

Mikhail L. Gasparov. Intertextual analysis today. The paper provides a discussion about recent results and perspectives of intertextual analysis — the method that has been a contemporary with Tartu-Moscow school. The connections between the classical philological methods and intertextual analysis are described, together with specifying the concept of intertext and emphasizing the need for the correctness of a researcher, because such an analysis always carries a danger of overinterpretation. Several examples are used to illustrate how the imagination of a researcher (...) can create arbitrary allusions that are not based on the original text and are usually misleading. As a result, the text under study will not become more clear, vice versa, it turns to be less understandable. (shrink)

Resumen: Aquí se asume desde una perspectiva filosófica el concepto de intertextualidad, no obstante, este concepto surgió en el ámbito filológico, donde tenía un carácter instrumental para la comprensión de textos históricos o literarios. Luego, la filosofía postmoderna y posestructuralista lo han retomado. En este artículo deseamos superar la dimensión filológica que asumía la intertextualidad solo como metodología, para ampliar su utilidad en el plano específicamente filosófico. Pero también ir más allá de la ambigüedad de las posturas filosóficas postestructuralistas y (...) postmodernistas, para pasar a ser una categoría pertinente para las ciencias humanas y sociales. Asumimos al bagaje de la filosofía, pero tomando el concepto de sujeto como eje de la dimensión intertextual, lo cual es coherente con los desarrollos de la filosofía latinoamericana crítica. Es así fundamental el modo en que filosóficamente reivindicamos el concepto de sujeto en lo que respecta a cómo viven procesos desde opciones intertextuales en su comprensión del mundo y el modo en que los estudiosos pueden utilizar el mismo concepto para su análisis. En ese sentido, comprender lo intertextual es comprender cómo los sujetos optan por significados y ponen en movimiento el lenguaje para la realización de la sociedad como actores sociales de la acción social. Abstract: This article revisits the concept of intertextuality from a philosophical perspective. Although this concept originated in philology, where it served an instrumental purpose for understanding historical or literary texts, it has since been adopted by postmodern and poststructuralist philosophy. In this article, we aim to move beyond the philological dimension that viewed intertextuality solely as a methodology, expanding its utility to the specifically philosophical realm. We also seek to transcend the ambiguity of poststructuralist and postmodernist philosophical positions, establishing it as a relevant category for the humanities and social sciences. We draw upon the philosophical framework, but with the concept of the subject as the axis of the intertextual dimension, which aligns with developments in critical Latin American philosophy. Thus, the way in which we philosophically reclaim the concept of the subject is fundamental, particularly regarding how individuals experience processes through intertextual options in their understanding of the world, and how scholars can utilize this same concept for their analysis. In this sense, understanding intertextuality means understanding how subjects choose meanings and set language in motion for the realization of society as social actors in social action. (shrink)

This article explores intertextual aspects of Chinese newspaper commentaries on the events of 11 September 2001. Newspaper commentaries in China are often a hybrid genre that combines the characteristics of comprehensive news reports and opinion articles. Informed by genre theories and discussions of intertextuality in different disciplines, this article examines the micro-genres of the data collected and investigates how the Chinese writers include and use outside sources and how they position themselves as writers in relation to other sources. The (...) analysis reveals that Chinese writers tend to use the explanatory micro-genre often with attributed but unidentified external sources or sources with high status for keeping a distance from these sources in the writing. This suggests that the writers tend to avoid personal authorship and responsibility for what they write. The article also discusses the textual and intertextual features in relation to the roles of the press in the Chinese context. (shrink)

: Julia Kristeva coined the term intertextuality in 1966, and since that time intertextuality has come to have almost as many meanings as users. No small task, I clarify what intertextuality means for Kristeva and her mentor/colleague, Roland Barthes before criticizing their concept of intertextuality and its application in interpretation. Because no rational and coherent concept of intertextuality is offered by Kristeva, Barthes, or their Epigoni, I conclude that intertextuality should be stricken from the (...) lexicon of sincere and intelligent humanists. (shrink)

Literature is open to psychoanalysis as is any other form of expression—this much is obvious. Less so is the relevancy of analysis to the specificity of literary texts, to what differentiates them from other linguistic utterances; in short, the literariness of literature.The analyst cannot avoid this problem of focus. If he did, he would treat verbal art as a document for purposes other than an understanding of its defining difference. He would simply be seeking one more set of clues to (...) the workings of the human mind, as the sociologist or historian exploits literature to explore periods or societies through their reflection in its mirror.The only approach to the proper focus must be consistent both with the analyst’s method and with the natural reader’s practice. The analyst requires free association on the part of the analysand, and he matches this free flow of information with an attention equally open to all that is said. It is only after a passive stage of “evenly-hovering attention,” or, as the French nicely call it, écoute flottante, that he seizes upon clues to build a model of interpretation. These clues are revealed to him by anomalies such as parapraxes and repetitions or deviant representations, as well as formal coincidences between what he hears and the corpus of observations on linguistic behavior accumulated since Freud. The reader, on the other hand, is faced with a text that is strongly organized, overdetermined by aesthetic, generic, and teleological constraints, and in which whatever survives of free association is marshaled toward certain effects. The reader himself is far from passive, since he starts reacting to the text as soon as his own way of thinking, and of conceiving representation, is either confirmed or challenged. The text tends therefore not to be interpreted for what it is, but for what is selected from it by the reader’s individual reactions. A segmentation of the text into units of significance thus occurs, and it is the task of the critic to verify the validity of this process. In pursuing this goal he must restrict himself to a segmentation that can be proven as being dictated by textual features rather than by the reader’s idiosyncrasies, by those elements the perceptions of which does not depend on the latter and that resist erasure when they are in conflict with such individual quirks. The analyst’s advantage in identifying such features is that he is trained to recognize the above-mentioned anomalies and to explain them by repression and displacement, that is, by the traces left in the surface of the text by the conflict between its descriptive and narrative structures and the lexicon and grammar that we call the unconscious. Michael Riffaterre, University Professor at Columbia University and a senior fellow of the School of Criticism and Theory, is the editor of Romantic Review. His previous contributions to Critical Inquiry are “Syllepsis” and “Intertextual Representation: On Mimesis as Interpretive Discourse”. (shrink)

The article highlights the impact of globalization processes on formation of dominant worldviews and guidelines, as well as ways and means of representing the latter. The state and prospects of studying intertextuality as an important element of modern world discourses in the projection on the national cultural background are studied. Attention is drawn to the high degree of development of both theoretical and applied aspects of intertextuality of discourses by representatives of academic communities of different countries and fields (...) of knowledge, which gave grounds to establish the polydiscursive and interdiscursive nature of the object of analysis. Orientation of domestic experts on parameterization of mainly specific manifestations of intertextuality within certain discourses at the level of isolated intertexts and presence of gaps in the theoretical description of the phenomenon in the context of national specificity is stated. Emphasis is placed on the definite variability of the terminology due to the interdisciplinary nature of discursiveness and, accordingly, intertextuality. A complementary link has been established between postmodernism as the dominant philosophical worldview and the intertextuality of discourses. The specifics of the intertextuality of contemporary Ukrainian literary discourse with regard to various scientific studies are clarified. The concept of “intertextual memory” is introduced and justification of its use is given. The need to apply the term “postmodern intertextuality” in relation to contemporary literary discourse is considered. The common and distinctive features of the manifestation of intertextuality in literary and journalistic discourses are traced. The specifics of intertextuality of Ukrainian journalistic discourse are described. It is established that the precedent character of the communicative act is of exceptional importance for realization of intertextuality in journalistic discourse. (shrink)

The article highlights the possibility of considering the works by P.A. Florensky through the prism of an intertextual approach. In order to fully determine the relevance of the intertextual approach to the study of this issue, the article articulates such concepts as intertext and intertextuality, and Florensky’s legacy itself is considered from the point of view of Barth’s idea of the Text. А program for studying Florensky’s works is proposed based on the conclusions. This program consists in considering the (...) author’s legacy with an emphasis on reading the text and the meanings embedded in it without searching for borrowed the other philosophers’ ideas. At the same time, the article summarizes the importance of preserving the figure of the author as the creator of the text, although in a situation of reducing his role, as opposed to the intertextual approach where the role of the author is eliminated, replaced with a scriptor. Intertextual optics allows us to characterize Florensky’s texts in terms of their high ability to generate new texts and inherent meanings. (shrink)

The study combined organizational theory with semiotic and discourse analysis to arrive at some compelling themes concerning higher education culture in the United States. One of the theoretical vehicles for intertextuality in organizational fields appears to lie in institutionalism and the mechanisms involved in isomorphism where organizations become to share similar structures, components, images and language. Three concepts of institutional isomorphism are at play — mimetic, coercive, and normative — where institutions become like one another especially in organizational fields (...) (Dimaggio and Powell 1983). These three processes provided the theoretical backbone to explore the how universities represent themselves to the public through mission statements and their corresponding university websites at 28 randomly sampled research intensive universities. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Intertextual Biography in the Rivalry of Cratinus and AristophanesZachary P. BilesMore than a decade ago, Malcolm Heath provided an influential explanation for charges of plagiarism between comic poets when he posited a growing store of ideas that were recycled as quickly as they were invented. As a result, "Anything put on stage in a comedy would become public property and be absorbed into the repertoire, so that all comic (...) poets contributed to it; and all drew on it, although each would aim to give a new and original twist to the material which he borrowed, so that the repertoire constantly evolved. If this was so, then any poet could lay claim to originality... and any rival could make a counterclaim of plagiarism."1 These remarks have important implications for the study of Old Comedy, not least in exposing the irony of such assertions as that of Antiphanes (Poiēsis, fr. 189 K-A), which overstates generic distinctions between tragedy and comedy on the score of originality. Beyond merely acknowledging comedy's essentially adaptive nature, Heath's position suggests that a certain degree of allusiveness was, as it were, built into the genre. Unfortunately there are few opportunities to test the potential insights that follow from Heath's general proposition since the corpus of comic fragments poses so many questions of plot, context, attribution, and-always important for this kind of study-chronology.There is one sequence of plays, however, that has attracted attention since antiquity as an example of comic poets responding to one another and for which valuable insights can still be gained by building on Heath's thesis. In 423 Cratinus took the prize against Aristophanes' Clouds with Pytine, a play in which Cratinus boldly portrayed himself as the hero while borrowing heavily from Aristophanes' caricature of him in Knights the previous year. While interest in the relationship of these plays has been renewed in recent years, the convergence of issues pertaining to adaptation, intertextuality, and rivalry has not been fully explored. Besides discussing these ideas as they relate to Knights and [End Page 169] Pytine, I shall extend the thread of artistic borrowing at either end, first by positing a stage autobiography of Cratinus that both predates and inspired Knights, and then by tracing elements of intertextuality between Wasps and Pytine. Generally speaking Heath's model proves to be of great value; however, my study makes an important modification by treating competition as a vital aspect of comic poetry.2 The intertextuality of these plays primarily depends on poetic biography, and the notion of competition is central to my understanding of stage biography as comic poets employed it either to assert their own superiority or malign their rivals. After examining the biographical interplay in the rivalry of Cratinus and Aristophanes, I end by applying the intertextual model more generally to Wasps, a play that advertises itself as a competitive response and whose intertextual relationship with Pytine can be viewed as a function of competitive strategy.IThe trail of evidence begins with a scholion on Knights 400. Commenting on the chorus's elusive response to Cleon ("If I don't despise you, may I become a blanket in Cratinus' house!"), the scholiast writes:(= Pytine test. ii K-A)3 [End Page 170]Certain errors about Cratinus' retirement aside,4 the scholiast shows himself to be a reliable witness to the play by his knowledge of the plot and ability to cite the text in the continuation of his commentary (fr. 193). Thus, with the exception of treating the more fully developed caricature of Cratinus as a drunk in the Knights parabasis as the actual source of inspiration for his self-portrayal in Pytine, generations of scholars have followed the scholiast's characterization of Pytine as a redemptive play, however exaggerated this biographical (mis)representation may have been in both plays. Two recent studies have raised objections to the traditional understanding of Knights and Pytine. Troubled by a certain feeling of allusiveness in the jokes about Cratinus in Knights and Acharnians, Keith Sidwell hypothesizes a source for the audience's familiarity with details of Cratinus' life by arguing that his stage "biography " was not an Aristophanic... (shrink)

Angels of Power, by Australian lesbian playwright Sandra Shotlander, illustrates political strategies described by American lesbian philosopher Jeffner Allen. In the play three female members of Australian parliament align to force regulation of new reproductive technologies. Using essentialist, materialist, liberal, and radical feminist arguments, the characters practice sinuous strategies through loading and layering female signs (intertextuality) in order to eradicate patriarchal signification and reenact a contemporary version of ancient Amazons taking over the Acropolis.

The Sanskrit D?rgh?gama manuscript is a Sarv?stiv?da/M?lasarv?stiv?da text containing a collection of ancient canonical Buddhist s?tras, composed in Sanskrit and written on birch bark folios. This collection had been lost for centuries and was rediscovered in the late twentieth century. In this paper, I examine key instances of intertextuality between a new edition of a s?tra from the Sarv?stiv?da D?rgh?gama – the Sanskrit Pras?dan?ya-s?tra –, the Pali Sampas?dan?ya-sutta, and Chinese???? – the three corresponding versions of this text in the?gama/nik?ya (...) collections of the Sarv?stiv?da, Therav?da, and Dharmaguptaka schools. Hence, contradictions among the texts that are not easily explainable will be shown, uncovering apparent confusion among the creators of these texts and hopefully shedding new light on our understanding of these texts. (shrink)

The article offers a reading of “Through the Panama” by Malcom Lowry in light of an intertext connected with Polish literature. Lowry mentions a short story “The Lighthouse Keeper of Aspinwall” by the Polish writer Henryk Sienkiewicz, the Nobel prize winner for the whole of his literary output. What Lowry stresses in his intertextual allusion is the perilous illumination that the eponymous lighthouse keeper experiences. The article contends that the condition of the lighthouse keeper anticipates that of the Lowry protagonist (...) who in “Through the Panama” fears death by his own book, or, to take Lowry’s other phrase, being “Joyced in his own petard.” Basing her analysis on Mieke Bal’s idea of a participatory exhibition where the viewer decides how to approach a video installation, and can do so by engaging with a single detail, Filipczak treats Lowry’s text as a multimodal work where such a detail may give rise to a reassessment of the reading experience. Since the allusion to the Polish text has only elicited fragmentary responses among the Lowry critics, Filipczak decides to fill in the gap by providing her interpretation of the lighthouse keeper’s perilous illumination mentioned by Lowry in the margins of his work, and by analyzing it in the context of major Romantic texts, notably the epic poem Master Thaddeus by Adam Mickiewicz whose words trigger the lighthouse keeper’s experience, and The Rime of the Ancient Mariner by Samuel Taylor Coleridge, whose text is quoted in the margins of “Through the Panama.” This choice allows to throw a different light on Lowry’s work which is also inhabited by echoes of futurist attitude to the machine and the Kafkaesque fear of being locked in one of the many locks of the canal “as if in experience.”. (shrink)

This paper extends studies on intertextuality into a more explicitly interactional context. I examine the actual process of intertextuality where comedy audiences construct recombinant selves through making sense of various membership categories as well as through making sense of a certain kind of comedy. The examination of this process requires receptive research; however, most studies leave the interpretive process unanalyzed. Conducting both a sequential analysis and a membership categorization analysis will reveal that categories are not “pre-formed” but “per-formed” (...) in situ. To illustrate these points, I report on a receptive study of Local comedy in Hawai‘i. (shrink)

Retrieval database artwork, unlike other artwork, does not present fixed, preset and stable contents; it is formed as external data are retrieved from different sociocultural contexts and combined into the artworks’ content. This article aims to address the intertextual relationships between retrieval database artworks and the mass-produced texts from which the database artworks retrieve their data. After briefly discussing the difference between retrieval database artwork and participatory database artwork, and exploring the main concept of intertextuality, we address why (...) class='Hi'>intertextuality is essential and beneficial in understanding retrieval database artworks. Two selected works are used to demonstrate that, as the artwork is executed, the meanings and relationships of retrieval database artwork are ever-changing, and the authorship is constantly shifting due to the viewer’s participation. Shifting authorship in retrieval database artwork is caused by the daily mass cultural production of original text, which might or might not be retrieved by the database to be incorporated into the artwork. We conclude that retrieval database artworks cannot separate themselves from mass data. The dynamic intertextual relationships between the work and its ongoing retrieval of content from other cultural productions, as well as the viewers’ contributions to the work, simultaneously shape and reshape the work and its authorship. (shrink)

The ArgumentA scientific work presupposes a body of texts that are a condition for its intelligibility. This paper shows that the study of intertextual reference — of the ways a text indicates its relation to other texts — provides a fruitful perspective in the study of science that deserves more attention than it has hitherto received. The paper examines intertextual reference in early nineteenth-century mathematics, first surveying a variety of mathematical texts in the period and then examining in detail W.R. (...) Hamilton's work on quaternions.Three questions are addressed: (1) What forms of intertextual reference are employed? (2) What is the range of intertextual reference? (3) What are the functions of intertextual reference? The answers to the first two questions provide an unexplored perspective on the institutional changes in science during the period. The transitional status of the period in the development of later professional science is reflected in the relative openness in the forms of intertextual reference employed and the range of texts to which reference was made. In virtue of these features the period is particularly fruitful in the study of the functions of intertextual reference. With some major qualifications, the paper defends a Mertonian view that intertextual reference needs to be understood in terms of the claim to intellectual property rights. (shrink)

This article probes the essence of such phenomena as concept and symbol, considers the dialectic of their stability and variability, and traces the development of content in some of them. Archetypes, stereotypes, and conceptual values are identified as the entities that are responsible for the universality of concepts and symbols, and that provide the stable ‘kernels’ of their content, which resist changes happening in them over time. Finally, the article expands on the main factors bringing about these changes — (...) class='Hi'>intertextuality and deconstruction, and offers a case study of the deconstruction of the Soviet ideological model during the ‘Perestroika’ of the 1990s. (shrink)

African traditional religion is a highly non-dogmatic spiritual lifestyle that is practiced by millions of people around the world. Some African scholars argue that it is related to the religion practiced by the African Egyptians during the Dynastic Period. This study examines the nature of African traditional religion in an effort to determine the common attributes of the religion of the continent. In fact, the focal point of this study is the West African religious experience. To make this examination, the (...) study used an intertextual, soteriological analysis of African traditional religion by isolating key elements in the Yoruba, Dagara, and Ibo cultures. Specifically, this project determined that enough intertextual relations existed in oral and written literatures of the West African people to define a particular and common response to the environment. ;Principal elements isolated included sacrifice, salvation and culture, modes of revelation, divination, and African resilience in the face of invasions, colonization, and various outside religious assaults. The soteriological value of Yoruba, Dagara, and Ibo cultures, particularly as it relates to cosmology, symbolism, and ritual, was found to be the fundamental basis for the African traditional religious moral system. (shrink)

This article examines intertextuality in digital humour through a combination of tools from pragmatics and decoloniality. The study draws on a dataset of Spanish image macros that intertwine highbrow and lowbrow intertextual references. The analysis is framed by key theoretical concepts at the discursive and hierarchical levels. Specifically, three domains of the colonial matrix of power (knowledge, humanity and governance) are used as analytical categories to identify specific intertextual strategies and hierarchies present in the data. The visual and verbal (...) components of the items are analysed through critical discourse analysis with attention to their salient signs. The use of the colonial matrix of power as an analytical tool for identifying hierarchies in intertextual references stands out as a methodological application with the potential to be further replicated in discourse analysis. (shrink)

In order to interpret the work of British photographer Miles Aldridge and gain insight into the semiotic ambiguity of his photographs, this paper relies on the capacity to decipher the photographs’ relationship to other arts such as Italian cinema and in particular, to the work of Italian film director Michelangelo Antonioni. From the perspective of this present study, the decisive role of semiotics in relation to photography is that it promotes an interactive process between artist and spectator. The methodology employed (...) in this study to demonstrate how previous systems of language inspire a semiotic dialogue and produce multiple interpretations is a combination of Umberto Eco’s concept of open work and French narratological theories of hypertextuality. Through an examination of the Italian cinematic influence in the work of Miles Aldridge, this paper demonstrates how generating interpretations becomes an essential element of a photograph’s aesthetics. (shrink)

Hazrat ʿAlī is a remarkable figure who left a significant impact on Islamic history, culture, and intellectual thought. This can be inferred not only from the deep respect and love shown by the Prophet towards him but also from ʿAlī’s activities during the period after the Prophet’s lifetime, as well as from the subsequent revitalization of ʿAlī’s image in monumental works. It is difficult to find any hadith or exegesis book where the name of ʿAlī is not mentioned or where (...) no hadith is narrated from him. In this article, our research object is one of the earliest mystical expositions written, the Kashf al-Asrār wa Iddat al-Abrār (The unveiling of the mysteries and the provision of the pious) by Rashid al-Din Meybodī. Similar to other exegeses, this work contains numerous hadiths narrated by ʿAlī and discusses various events. In this exegesis, the portrayal of ʿAlī differs from other exegeses in that, apart from his historical and religious persona, ʿAlī is viewed from a mystical perspective. A multitude of poets have written works about Hazrat ʿAlī, leaving a lasting impact in the literature. During the Islamic period, in subsequent stages, and even today, the image of Hazrat ʿAlī is presented in many poems, symbolizing various aspects of his character. In this regard, Jālāl al-Dīn Rūmī’s Masnavī-ye Maʿnavī (Spiritual Couplets) is no exception. In fact, we will argue that Rūmī is the poet who most frequently depicted ʿAlī and his virtues in verse. In this Masnavī, although seven sections are ostensibly dedicated to introducing the personality of ʿAlī, we encounter the hadiths of ʿAlī or wisdoms from Nahj al-Balāgha presented in poetic form throughout the entire Masnavī. All of this demonstrates that Jālāl al-Dīn Rūmī held possessed high regard for the personality of ʿAlī and, at the same time, conveyed it to his readers in the most beautiful form. The fact that the same sentences from ʿAlī are presented in two monumental works- one in mystical prose and the other in mystical verse- piqued our interest. Therefore, taking into account the presentation of the same ideas of ʿAlī in both works, we decided to conduct a comparison between the two. The strong similarities between two works written in different periods and genres further prove that Hazrat ʿAlī held a very esteemed and unique position. The research carried out in this article is of great importance in recognizing ʿAlī’s position in classical Eastern literature. (shrink)

If we try to arrive at the simplest and most universally valid definition of the representation of reality in literature, we may dispense with grammatical features such as verisimilitude or with genres such as realism, since these are not universal categories. Their applicability depends on historical circumstances or authorial intent. The most economic and general definition, however, must at least include the following two features. First, any representation presupposes the existence of its object outside of the text and preexistent to (...) it. Readers feel, and critics pronounce, that the text’s significance depends on this objective exteriority, even though this significance may entail destroying the commonplace acceptance of the object; indeed, negating something still presupposes that something. Second, the reader’s response to the mimesis consists in a rationalization tending to verify and complete the mimesis and to expand on it sensory terms . The metalanguage of criticism accordingly prolongs and continues the text’s mimetic discourse, and critics evaluate representation in terms of its precision and suggestive power. Both processes—presupposition and rationalization alike—assume that referentiality is the basic semantic mechanism of the literary mimesis.There are, however, literary representations almost devoid of descriptive content, or so vague and so skimpy that their object cannot be analyzed or rationalized in sensory terms. Criticism is hard put to explain why readers feel compelled to evaluate them. And yet these texts not only lend themselves to interpretation but they are especially apt to trigger and control the reader’s hermeneutic behavior. In short, the represented object eschews referentiality yet refuses to vanish altogether, becoming instead the verbal vehicle of an interpretive activity that ends up by making the object subservient to the subject.1 1. See Roland Barthes et al., Littérature et réalité , esp. my paper, pp. 81-118, on the referential fallacy. Michael Riffaterre, University Professor at Columbia University, is the editor of Romantic Review. He is presently working on a book about Anthony Trollope . His previous contribution to Critical Inquiry, “Syllepsis,” appeared in the Summer 1980 issue. (shrink)

The Wenzi: Creativity and Intertextuality in Early Chinese Philosophy. By Paul van Els. Studies in the History of Chinese Texts, vol. 9. Leiden: Brill, 2018. Pp. xiv + 233. $108, €90.

In this chapter, it is assumed that two kinds of relations are essential to any philosophical school. Firstly, there are interpersonal relations between members of the school, including teacher–student relations. Secondly, there are intertextual relations between elements of output the school, namely between problems, conceptual schemes, methods or theories accepted by various representatives. The chapter consists of two parts. In the first part, the conceptual scheme for analysis of various types of interpersonal and intertextual relations is provided. It is claimed (...) that contact between philosophers (oral or written, unilateral or bilateral) is a necessary but not sufficient element of influence of one philosopher on another. The influence takes place if the contact between philosophers results in some actions or convictions of one of them. The influence may be positive or negative. It is also the case that one may be more or less aware of being influenced by someone else. The second part of the chapter provides some examples of interpersonal and intertextual relations in the Lvov-Warsaw School. In particular, the contact between Kazimierz Twardowski, the founder of the school, and his direct students, is characterised. Further, some examples of Twardowski’s influence on the first generation of the LWS are given and the way that the influences were revealed is described. Also, the important characterological and theoretical differences between various Twardowski’s students are presented. In the conclusion a hypothesis is issued that the peculiarities of interpersonal and intertextual relations in the LWS are caused by Twardowski’s methodological attitude as well as his interdisciplinary approach to philosophical problems. (shrink)

In 1516, More wrote to Erasmus, putting him in charge of the publication of Utopia. In his study about the “sources, parallels and influences” of More’s libellus, Edward Surtz points out that “the most evident influences are classical” and in 1965, in the introduction of his edition of Utopia, he noted that in the composition of this fiction, Plato and Plutarch are as essential as Cicero and Seneca. He also noted that these philosophers are “the source for the tenets and (...) arguments of the two schools discussed by the Utopians, the Epicurean and the Stoic” and that “Cicero’s De finibus is of special interest here, but detailed studies of Ciceronian and Senecan influences have still to be made.” (p.cliv, clxi). From 1965 until today we haven’t found a specific study on this problem in the bibliography about Utopia and classical Latin literature, that’s why in this paper we will examine some of the connections that link More’s libellus to De finibus. (shrink)

This article examines the types of textual and discursive relations that can be found within a genre system and across the borders of such a system. Based on the results, the need for and possibility of drawing genre boundaries between texts with different genre labels is discussed. The study is based on four communication strategy texts from two Finnish insurance companies. Communication strategy texts, such as communication strategies, policies and plans, are used in organizations to regulate the corporate communication function. (...) The analysis is based on genre theory and the model of intertextual analysis presented by Charles Bazerman. The results indicate that the intertextual profile of the texts studied is relatively uniform, whereas the interdiscursive profile tends to vary according to the company and the intended audience. The texts studied form overlapping combinations of genres with multiple communicative purposes, which reflects the somewhat labile character of strategy texts in general. (shrink)

Name der Zeitschrift: Cultura. International Journal of Philosophy of Culture and Axiology Jahrgang: 8 Heft: 2 Seiten: 7-22.

Weapons of Words: Intertextual Competition in Babylonian Poetry. A Study of Anzû, Enūma Eliš, and Erra and Išum. By Selena Wisnom. Leiden: Brill, 2020. Pp. viii + 280. $185.

Overturned Boat: Intertextuality of the Adapa Myth and Exorcist Literature. By Amar Annus. State Archives of Assyria Studies, vol. 24. Helsinki: The Neo-Assyrian Text Corpus Project, 2016. Pp. xii + 144. $59.

Name der Zeitschrift: Journal of Ancient History Jahrgang: 5 Heft: 2 Seiten: 228-279.