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Allah n’est pas obligé d’A. Kourouma: un palimpseste ivoirien

100%
Malinovská Z.
Svět literatury – Časopis pro novodobé literatury (World of Literature – Journal for Modern Literatures)
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2015
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vol. Special Issue: Le monde de la litérrature
149-156
EN
The present study shows that the novel Allah Is Not Obliged (2000) by Ahmadou Kourouma from the Ivory Coast, is an up-dated “Africanized“ transposition of Journey to the End of the Night (1932), L-F. Céline’s key 20th century French novel despite the lapse of time and different contexts, in which both works originated. After a brief introduction of contexts and Kourouma’s problem of ambivalent relationship with the French language, it focuses on the portrayal of affinity between hypotext and hypertext. The study emphasizes a similar concept of the character identical with the narrator “imposing“ a novel’s construction, a similar vision of being in the world and especially a similar need to come up with an original linguistic expression of the topic, which hides the issues of language and narration beneath the surface.
2
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Symbioza nazw, czyli o intertekstualności onimicznej

99%
Rutkiewicz-Hanczewska M.
Slavia Occidentalis
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2012
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issue 69
199-211
PL
The present article is devoted to a textological analysis of the so-called intertextual proper names, i.e. units that relate to the structure of names that have been constructed earlier. The article attempts to characterize the so-called proprial (onymic) texts with the relations taking place between the hypotext (cf. “source name”) and the hypertext and/or hypertexts (cf. target name) taken into consideration. Considering the way particular texts are derived via a transition of some kind, a number of types has been distinguished: transtextualization, intertextualization, transformation, iconization and imitation. Transtextualisation involves names transferred from one onymic plane to another without any formal change (cf. Polish Pożegnanie z Afryką (Out of Africa) – the title of a film > Pożegnanie z Afryką – the name of a branch of shops in Poland). Transformations are names that have originated as a result of different linguistic transformations of the source text, i.e. the hypotext (cf. Skierniewice – a place name of a town > the Skierniewka – the name of a river). Imitations correspond to names formed in artificial onymic conditions, through analogy to structures already existing in the propial tradition (e.g. Biedaczkowo [Penuryville] – a text in the function of a place name, Bezczelnicki – a joke name to be found in literature). Intextualisations are, in turn, names whose structure contains hypotexts resulting from indirect influence or more or less precise application of their structure (cf. Słoń Torbalski – the name of a fancy leather goods manufacturer from the classic verse by J. Tuwim about its eponymous protagonist, the forgetful elephant, Tomasz Trąbalski). Finally, iconizations are created as a result of a transformation of the structure of pastiche-type hypotext or parody or burlesque (cf. Rozmowy w tłoku < Rozmowy w toku). The article also discusses differences between the so-called classic(archetypal) and prioprial text, as well as the functions of intertextual appellative texts, that involves updating of name-resources of a given system, among others.
3
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LE THEATRE TARDIVIEN ENTRE DIAIRESIS ET SUNAGÔGÈ

85%
MUNTEANU E.
Concordia Discors vs Discordia Concors: Researches into Comparative Literature, Contrastive Linguistics, Cross-Cultural and Translation Strategies
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2011
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vol. 3
111-134
EN
With the aesthetical project in mind of composing a theatre à la well-tempered clavichord (Clavecin bien tempéré du théâtre), Jean Tardieu manages to achieve it due to a couple of oxymoronic gestures, that is diairesis and sunagôgè. If the former suggests an irreverent theatre (the result of the re-writing of a series of transformational operations and of demystification of the collective imaginary) with a major focus on obsolete paradigms (vaudeville, bourgeois drama, boulevard drama), the latter is rather a matter of revisiting or transvaluating these hypotexts in the manner of, say, Matéï Visniec’s theatre. Space, time, language and characters undergo some distortion in order to highlight an outworn scenic chronotope, an old world, and to refer to theatre itself in a self-referential gesture. While showing us to the lounge, certain rough sketches would make the spectator consider a dynamic interpretation performed in Diderot’s, Labiche’s or in Feydeau’s time, but this topos has nothing to do with the function miming offstage workings, since it merely provides a theatrical convention. The spectator, receiver of a didascalic paratext with a metatextual scent, becomes an accomplice in this act of théâtromageiros
4
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Il ramonismo di Orio Vergani: riscritture ipertestuali e traduzioni

85%
Sinatra C., Sinatra C.
Kwartalnik Neofilologiczny
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2021
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issue 2
5
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Le mythe de Narcisse dans la littérature « fin de siècle » : autour des limites de l’intertextualité

57%
Kučerová M.
Svět literatury – Časopis pro novodobé literatury (World of Literature – Journal for Modern Literatures)
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2015
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vol. Special Issue: Le monde de la litérrature
167-173
EN
The author of the article deals with specific features of literary myth concerning intertextuality, and mainly the issue of identification of hypotext in literary texts rewriting the mythological narrative. Providing works of the three writers as an example — André Gide, Jean Lorrain, Paul Valéry — the author points out the French literature tendency « fin de siècle » to ambiguous oscillation between the creation of the myth itself and its interpretation beyond the scope of one comprehensive artistic discourse.
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