Search results - CEJSH

1

La stiva e l’abisso di Michele Mari. Romanzo fra favola e metanarrazione

100%

Janusz J.

Romanica Silesiana

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2020

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vol. 17

151-163

EN

From the moment of his literary debut in 1989, Michele Mari is considered to be the representative of classic tendencies in contemporary Italian literature. One of the most noticeable characteristics of his writing is the presence of autobiographic elements which appear in all his works with different intensity, but also the archaization of style and language, literary references and metaliterary reflexions. This article aims at showing how the 1992 novel La stiva e l’abisso connects two of those aspects of Mari’s writing: intertextuality and literary references to adventure novel genre, as well as it reflects on the role and value of the literature for the contemporary people. It analyses basic narrative instances, that is the narrator, narrative structure, place and time of events, in order to show how they result in metaliterary reflexion.

2

Чеховские мотивы, образы, приемы в произведениях русских писателей конца ХХ – начала ХХI вв.

94%

Гордович К.

Acta Universitatis Lodziensis. Folia Litteraria Rossica

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2014

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vol. 07

EN

The creative principles and techniques of Anton Chekhov have proved attractive to modern writers. Many late-20th-century authors, e.g. Tendryakov or Sasha Sokolov, used the naiveté and naturalness of a child’s mind when depicting contradictions and controversial issues. A connection with Chekhov is evident in the development of the theme of a mental institution, its doctors and patients (Makanin, Pelevin). Also the Chekhovian principle of refusal to categorically judge the words and deeds of the characters gains fundamental importance (Dovlatov). It is from Chekhov that modern writers have learnt to present serious psychological issues and world-view questions through commonplace imagery.

3

Диалог культур в поэтике Вероники Долиной

94%

Mnich L., Uniwersytet Przyrodniczo-Humanistyczny W. H.

Acta Universitatis Lodziensis. Folia Litteraria Rossica

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2014

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vol. 07

EN

The article deals with various types of dialogue of cultures in the songs by Veronika Dolina. The genre of “author song” (Russian and Soviet singer-songwriters’ works) is analysed as a special kind of dialogue with listeners as well as with history and culture. In particular, the author interprets and places in intertextual context three songs by Dolina: ‘The Aunt Told Me’, ‘On the Death of A. D. S.’ and ,The Cardinal Is Still Young’.

4

Эстетическая гетерономия как принцип построения художественного нарратива: к эстетической функции интертекстуальности

94%

Kotin M. L.

Przegląd Wschodnioeuropejski

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2021

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vol. 1

381-397

EN

The relations between the “main” narrative parts of a belletristic text and its (cross)references to other works of literature and/or music, painting etc. play an important part in the structure and functioning of a literary work. The phenomenon of intertextuality belongs at present to the favourite subjects of the research of texts, among others, of fictional texts. However, some relevant functions of implementation of external esthetical works, both literary texts and other art forms, into a fictional narration have not been investigated yet. This paper presents an analyses of two works of narrative fiction written by Tolstoy and T. Mann, with a special attention to the esthetical function of intertextuality by implementation of cross-references to the works of the composer Beethoven (in the case of Th. Mann also of the poet Goethe). The claim is that intertextuality in the esthetical sphere induces a double esthetical function and determines the phenomenon which I will call “esthetical heteronomy”. Its main feature is a very specific influence of external esthetical sources on the internal esthetical values of the primary text.

5

Parodied Locations: A Play on Genre Conventions and Place in Flann O’Brien’s The Poor Mouth and Alasdair Gray’s Poor Things

94%

Szot B.

Zagadnienia Rodzajów Literackich

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2017

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vol. 60

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issue 2 (122)

99-112

EN

Flann O’Brien in The Poor Mouth and Alasdair Gray in Poor Things use parody (of Gaeltacht memoirs and Gothic fiction respectively) to join in a discussion on literary representations of their homelands (Ireland and Scotland). This paper discusses the subversive play on the reader’s expectations regarding literary representation of places driven by previous knowledge of the parodied genre’s conventions which the two authors use to pinpoint the inadequacy of the hitherto existing literary tradition.

6

Intertextualität als Teil der Argumentationskompetenz

94%

Massud A. H.

Linguistische Treffen in Wrocław

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2021

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issue 19

187-204

EN

This paper addresses the role of intertextuality as a part of argumentative competence of prospective students with and without first language German in written reasoning. An explicit and an implicit concept for the analysis of intertextuality is proposed. The focus of the analysis is a corpus of 40 articles, written by students. The test subjects are on the one hand 20 students who have German as their first language or who were born and socialized in Germany, and on the other 20 students with a migrant background who have a different first language (e. g. Turkish, Serbian, Croatian, Albanian, Arabic, Kurdish, etc. ). The aim of the analysis of this authentic corpus is to try to find empirically supported answers to the following questions: Which elements of intertextuality are found in students‘ texts at the upper level? By which elements of intertextuality are which argument types constructed? Are there differences between students with German as their first language and those with German as Second Language (= DaZ)? And how relevant are the respective arguments? After discussing the different concepts of intertextuality, this paper formulates its own definition. My method is quantitative and at the same time qualitative. The article addresses questions to the corpus, e. g. whether there are explicit or implicit elements of intertextuality; And if so, which ones? And to which reference texts (e. g. texts, authority, experience, world and media knowledge, etc.) could these elements of intertextuality be traced? And which of the identified elements serve to construct or present an argument (e. g. authority arguments, analogy arguments)? The paper concludes that most of the arguments constructed intertextually are the authority arguments, the analogy, and generalization arguments. In addition, the article comes to the conclusion that the directly or indirectly quoted texts were often misunderstood or manipulated. The paper therefore argues for a more conscious inclusion of intertextual competence in argumentation didactics.

7

Kategoria motta we współczesnym literaturoznawstwie

94%

Sadzińska E.

Acta Universitatis Lodziensis. Folia Litteraria Rossica

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2011

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issue 4

131-141

EN

In the contemporary literary studies, the category ‘motto’ has a well-established position, although one often meets an opinion that a uniform theory of universal motto has not been developed yet. This article is an attempt to synthesise the existing findings about the motto. It presents an overview of the most interesting research positions. This allows us to illustrate, in general terms, how the meaning of the motto changed from the sixteenth to the eighteenth century, and how it evolved from a very general blurry meaning to the one representing the main characteristics of intertextuality.

8

Донжуановская тема в творчестве Давида Самойлова

94%

Szymańska A.

Acta Universitatis Lodziensis. Folia Litteraria Rossica

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2011

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issue 4

94-104

EN

The aim of this article is to analyse four different poems by David Samoylov, a 20th century Russian writer: The End of Don Juan, The Old Don Juan, The Young Don Juan and The Comandorov’s Footsteps. All of them are new interpretations of the Don Juan story. Thanks to the new plot solutions and to the literary dialogue with Pushkin and Blok, Samoylov’s works are interesting and valuable contribution to the literary versions of the Don Juan theme.

9

Intertekstualna „encyklopedia” Wiktora Jerofiejewa jako refleksja nad istotą rosyjskości

94%

Biegluk-Leś W.

Białostockie Studia Literaturoznawcze

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2015

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vol. 7

EN

In his "Encyklopedia duszy rosyjskiej" Wiktor Jerofiejew performs a brutal vivisection of his nation’s cultural memory. The key concepts of history, power, nation, and fatherland gain a new erudite interpretation. Consistent in uncovering totalitarian discourse, Jerofiejew demythologizes opinions and prejudices, deconstructs ideas, concepts and attitudes. While bringing to life the portrait of Russian mentality and their national character, he proposes hierarchy but never accepts taboos. Consequently, "Encyklopedia" does not appeal to popular tastes. It is a multifaceted “miniature gallery”, a bitter diagnosis of the essence of Russianness and the condition of Russian culture.

10

Aspects of Intertextuality in the Works of the ‘Stalowa Wola Generation’ (Eugeniusz Knapik, Andrzej Krzanowski, Aleksander Lasoń)

94%

Kiwała K.

Interdisciplinary Studies in Musicology

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2019

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issue 19

155-172

EN

In the panorama of Polish music of the 2nd half of the 20th century the works of Silesian composers stand out. They were born in 1951 and thus they are referred to as the ‘Generation 51’ or the ‘Stalowa Wola Generation’ (from the place of their debut at the Festival ‘Young Musician for the Young City’ in Stalowa Wola in 1976): Eugeniusz Knapik, Aleksander Lasoń and Andrzej Krzanowski. They constituted the first generational phenomenon of such significance in Polish music since the debut of ‘Generation 33’ (Krzysztof Penderecki, Henryk Mikołaj Górecki and others). The musical style of these young authors was in tune with the Polish popular phenomenon of the 1970s of ‘New Romanticism’, consisting in a return to certain artistic and aesthetic values lost in modernism and avant-garde. One of the distinguishing features of Knapik’s, Lasoń’s and Krzanowski’s work is the application of various ‘intertextual strategies’ – quotations, allusions, and clear references to more or less specific musical traditions. In the works of ‘Generation 51’ composers, these strategies have a certain superior ‘axiological sense’ (Władysław Stróżewski), which is far from a purely ludic, postmodernist play on conventions and texts. The aim of the text is a review and an attempt to interpret those strategies. A methodological reference point will be the semantic analyses of possible intertextual references performed by Mieczysław Tomaszewski and Stanisław Balbus.

11

O nazwach własnych w polskim i angielskim przekładzie sztuki Дракон Eugeniusza Szwarca

94%

Abramska M.

Acta Polono-Ruthenica

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2017

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issue 22/1

107-117

EN

In the article we analyze proper nouns occurring in Evgeny Schwartz’s Дракон. A very important aspect which should be considered in the play’s translation is its intertextuality. The author refers to other works by taking over the characters and introducing the prototype text components. We will look over the only Polish translation of Jerzy Pomianowski (1965) and three English translations of Elisaveta Fen (1975), Yuri Machkasov (2001) and Anna Epelbaum (2013).

12

Siódma przechadzka po lesie fikcji. O książce „Między światami” Piotra Stasiewicza i badaniach nad fantastyką po zwrocie postmodernistycznym

94%

Maj K. M.

Creatio Fantastica

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2018

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issue 1(58)

191-212

EN

Reviewed book: Piotr Stasiewicz, Między światami. Intertekstualność i postmodernizm w literaturze fantasy, Białystok Wydawnictwo Uniwersytetu w Białymstoku 2016, ISBN 978-83-7431-494-7

13

Świat kolorów ludzi paleolitu jako element intertekstualności „obrazów” w jaskiniach

94%

Minta-Tworzowska D.

Folia Praehistorica Posnaniensia

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2017

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vol. 22

111-142

PL

The article discusses an issue of intertextuality of “pictures” in Palaeolithic art, and colour as its constituent. An important concept in these regards appeared to be that of an open and interdisciplinary approach towards an image, derived from the anthropology of images. In my opinion, essential is an “acting” of an image, based on so called “interimaginal relations”. It is legitimate when referring to prehistory, as numerous images reveal interpenetrating traces of other representations. Either consciously or unconsciously, some solutions had been used repeatedly, copying other representations, including selection of colours as a kind of stereotype deeply rooted in cultural memory. In cave “pictures” there were one or two main colours used, rarely three or even four. It has been acknowledged that the most important features of Palaeolithic “pictures” were movement, colour, especially expressed by a contrast of black and red or yellow, and also an illusion. They were also interrelated with a sound. The world of colours of contemporary people was a significant constituent of cultural meanings and of images “acting” in “mediatisation” of important existential contents between past and present.

14

Interlektura utworów-intertekstów. Wysłyszeć głosy innych

94%

Janicka-Słysz M.

Aspekty Muzyki

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2017

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vol. 7

71-83

EN

We are living in the time of intertextuality, when — following Mikhail Bakhtin — every expression is saturated with a resonance of dialogue. Therefore, to understand the style of an artistic expression, we should also consider its imminent dialogic quality. The article presents the works of Polish composers, beginning with Karol Szymanowski, from the perspective of six intertextual strategies elicited from the concept of Stanisław Balbus (Między stylami/Between Styles), a Polish literary theoretician. They are: (1) “active continuation” (adaptation of past models); (2) “restitu-tion of the form” (conscious reference to a form present within the field of cultural awareness, due to its formal fitness for the taken up expressive tasks); (3) “open imitation of models” (a model is perceived as an authoritative vehicle for values); (4) “a stylistic reminiscence” (a “memory” of the model under the brand of an individual statement) (5) “cultural transposition of a theme” (the transmigration of motifs, themes, and significant gestures, the phenomenon of the active topoi); (6) “styling” (the key type of intertextuality, emphasising the nature of intertextual and interstylistic connections). Looking at the Polish music of the 20th and the first decade of the 21st century, a number of general claims favoured by the intertextual perspective can be made. (1) Polish music set in tradition: tradition perceived as an inter-text, and building an inter-context for the pieces created. (2) Reinforced at the foundations of the Polish music created “here and now” is the sense of dialogue, opening to the other. (3) The value of the work as such is emphasised in Polish music. (4) Against the preached concepts of “the death of the author” or “the weak subject”, a powerful need for the creation of own style is still present. (5) As an inter-text, the work becomes even stronger semantically loaded.

15

Intertekstualność jako dominanta przekładu

94%

Adamowicz‑Pośpiech A.

Między Oryginałem a Przekładem

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2012

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vol. 18

163-180

EN

The aim of the article is to demonstrate that intertextual references are crucial for the building of the semantic structure of a given work. In the author’s opinion these intertextual links should constitute the translative dominant (Anna Bednarczyk’s term). In addition the nature of intertextuality was analyzed on the basis of Hatim and Mason’s notion of intertextual chains. It was proved that the omission of one loop in translation did not mar the overall semantic field operating by connotation.

16

Od „dna” ku „denku”. Postmodernistyczna aktualizacja dramatu M. Gorkiego

94%

Pieczyński M.

Kultury Wschodniosłowiańskie - Oblicza i Dialog

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2014

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issue 4

151-158

EN

Contemporary Russian drama is situated in a dialogue with literary and more precisely dramatic tradition. For example, this thesis clearly confirms a comedy by Igor Shpric On the bottom. The text at the level of its title refers to Maxim Gorky's play The Lower Depths. Shpric’s comedy parodies this work by presentingGorky's characters in the social and cultural context of contemporary reality. The main purpose of the paper is the intertextual analysis and interpretation of ironic Shpric’s comedy as the transcontextualization of language, poetics, themes, plot and characters ofGorky's text.

RU

Contemporary Russian drama is situated in a dialogue with literary and more precisely dramatic tradition. For example, this thesis clearly confirms a comedy by Igor Shpric On the bottom. The text at the level of its title refers to Maxim Gorky's play The Lower Depths. Shpric’s comedy parodies this work by presentingGorky's characters in the social and cultural context of contemporary reality. The main purpose of the paper is the intertextual analysis and interpretation of ironic Shpric’s comedy as the transcontextualization of language, poetics, themes, plot and characters ofGorky's text.

17

DIE UNSCHULD DES PLAGIATS. BRECHTS INTERTEXTUELLE SCHREIBSTRATEGIE

94%

SCHOTT H.-J.

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

83-110

EN

In the late twenties of the 20th century, Bertolt Brecht found himself accused by contemporary literary critics of having copied Rimbaud in his drama “Im Dickicht der Städte“. This was an occasion for him to develop a literary poetics that focuses on the aesthetics and ethics of plagiarizing. Brecht considered the literary technique of plagiarism as being productive for four reasons. First, the copy eliminates every personal dimension of a symbolic expression and emphasizes its genuine features, just as the Epic Theater does. Secondly, the copy incorporates into the aesthetic production process the art of forgetting, which Brecht – following Nietzsche – considers as being a vital power. Thirdly, the copy deconstructs the concept of the artist as a genius, which to Brecht – as well as to Michel Foucault and Roland Barthes – is essentially ideological, for, by disallowing the free composition of aesthetic fiction, it impedes the artistic process. Fourth, in the field of symbolic production, the copy represents a form of proto-communist common property as it eludes any efforts of commercialization made by the capitalist cultural industry. The essay traces Brecht’s arguments in favour of plagiarism and analyzes the political consequences of this explicitly epigonal writing strategy.

18

In the postmodern mirror: intertextuality inAngels and Insectsby Antonia Susan Byatt

94%

Buda A.

Journal of Language and Cultural Education

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2015

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vol. 3

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issue 2

66-70

EN

The aim of the paper is to analyse the novel Angels and Insects by Antonia Susan Byatt in terms of intertextual references. The author’s assumptions are based on the categorisation by Ryszard Nycz, who distinguishes three major types of intertexts: text versus text, text versus literary genre and text versus mimesis. Byatt uses intertextuality mainly to comment on the role of nature in the world, as well as to enhance the importance of human relationship with nature. Moreover, the writer moves towards literary criticism, discussing poems by famous artists, such as Alfred Tennyson or John Milton. In this way, the novel by Byatt is also an example of metafiction. All the narration techniques used by the English writer make the novel a typically postmodern work of art.

19

L’INTERTEXTUALITÉ DANS LA PROSE DE PÉTER ESTERHÁZY ET LA RÉCEPTION DE SES ŒUVRES EN FRANCE

94%

Schneller D.

Concordia Discors vs Discordia Concors: Researches into Comparative Literature, Contrastive Linguistics, Cross-Cultural and Translation Strategies

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2009

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vol. 1

164-183

EN

Péter Esterházy has been for over 20 years one of the most important contemporary Hungarian writers. While postmodernist, he highly respects modernist predecessors like Dezső Kosztolányi or Gezá Ottlik, and implicitly the modernist values they represent. Acknowledged as a great writer in Europe as well as in Hungary, Esterházy’s major work, Harmonia Caelstis, printed at Gallimard, generated a number of eulogistic reviews. An important feature of his work remains intertextuality, the dialogue with great European writers and philosophers. Apart from humour, sensuality and encyclopedic knowledge, the frequent references to French literature have contributed to making him quite popular in France.

20

Intertextuality and failed taboo humour in advertising

94%

Dore M.

The European Journal of Humour Research

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2020

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vol. 8

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issue 3

EN

Humour is often exploited in advertising to enhance the positive image of a brand or corporate company, as well as to promote products or services. Advertisers seek the involvement of the audience via covert or overt references that, in their opinion, may trigger humour and, hypothetically, result in a positive customer response. However, using intertextual humour in advertising can sometimes be risky because, even though the ideal interlocutor is supposed to be familiar with the humorous reference the author alludes to, the latter can never be certain of whether it will be favourably received. The matter is further complicated if the advert relies on references that play on taboo or transgressive topics, which some may find humorous while others will consider distasteful. After all, humour is a phenomenon that varies according to individual cultures and historical time, as well as in terms of how it is perceived and whether it is appreciated. In this context, this study focuses on the use of intertextual taboo humour in adverts and campaigns that exploit both verbal and non-verbal texts. It particularly explores the reasons for the target clientele’s reaction, which has had a boomerang effect on the brand and company itself. The suggested hypothesis is that the simultaneous exploitation of verbal and non-verbal intertextual references (consciously or unconsciously) activates multiple targets and scripts that cause the intended humour to fail in its scope.

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