Intertextuality as a term was first used in Julia Kristeva's "Word, Dialogue and Novel" principle of textual autonomy, the theory of intertextuality insists that a text. Most critics agree that the term was coined in the late s by Julia least double” (Kristeva 85, cited in Moi 37).2 Kristeva's work on intertextuality in the. INTERTEXTUALITY: ORIGINS AND DEVELOPMENT OF THE CONCEPT. Author(s): as a term was first used in Julia Kristeva's "Word, Dialogue and Novel".
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It also does not account for the fact that signifiers are plural, full of historical meaning, directed not so much to stable signifiers as intertextuality julia kristeva a domain of other signifiers.
In her view, ideas are not presented as finished, consumable products, but are presented in such a way as to encourage readers to come up with their own interpretation of its meaning.
In Desire in Language: The Bounded Text pp. In this work, she is concerned with establishing the manner in which a text is constructed intertextuality julia kristeva already existent discourse. She argues that authors do not create their texts from their own mind, but rather compile them from pre-existent texts.
Bullfinch's work The Age Of Fable served as an introduction to such an intertextual network;[ citation needed ] according to its author, it was intended intertextuality julia kristeva Even the nomenclature "new" and "old" testament reframes the real context that the Jewish Torah had been usurped by followers of a new faith wishing to co-opt the original one.
Etxebarria claimed that she admired him and applied intertextuality. Intertextuality in the Fiction and Criticism MUPre-examines "intertextuality" as a production within texts, rather than as a series of relationships between different texts.
The World-Wide Web has been theorized as a unique realm of reciprocal intertextuality, in which no particular text can claim centrality, yet the Web text eventually produces an image of a community—the group of people who write and read the text using specific discursive strategies.
As an intertext, it employs quotations from the scriptures of the Abrahamic religions. As a hypertext, it consists of links to different articles within itself and also every individual trajectory of reading it.
Julia Kristeva’s concepts of intertextuality
As a supertext, it combines male and female versions of itself, as well as three mini-dictionaries in each of the versions. Examples in literature[ edit ] Some examples of intertextuality in literature include: East of Eden by John Steinbeck: Ulysses by James Joyce: A retelling of Homer's Odysseyset in Dublin.
Earthly Powers by Anthony Burgess: A Thousand Acres by Intertextuality julia kristeva Smiley: A retelling of Shakespeare's King Learset in rural Iowa. Perelandra by C. For Roland Barthes, who proclaimed the death of the authorit is the fact of intertextuality julia kristeva that allows the text to come into being: Any text is a new tissue of past citations.
Bits of code, formulae, rhythmic models, fragments of social languages, etc. Intertextuality, the condition of any text whatsoever, cannot, of course, be reduced to a problem of sources or influences; the intertext is a general field of anonymous formulae whose origin can scarcely ever be located; of unconscious or automatic quotations, given without quotation marks.
Text, Image, and Beyond. The interests represented in these essays are widely varied and include the interplay of a text and seemingly unrelated photos; an ekphrastic commentary on a painting, both of which are treated in a poem; an overview of iconoclastic tendencies in the graphic novel; and a close reading intertextuality julia kristeva an innovative graphic novel, which, at first glance, seems highly unsuited thematically to the genre.
Project MUSE - Intertextuality: An Introduction
Memories and the City English transl. Pamuk's intertextuality julia kristeva contests the idea of photographs as complements to literary texts, since the images seem, at first glance, to have little connection to the narrative.
Pamuk's idiosyncratic interpretations of the photos reveal a subjective metatext hovering between the two narratives, that of the images and that of the text. Santesso cites Barthes's idea of the punctum in an intertextuality julia kristeva, which is "an accident which