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Relacje transtekstualne jako dominanta? Sekretna historia Costaguany Juana Gabriela Vásqueza

100%
Jastrzębska A. S.
Między Oryginałem a Przekładem
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2012
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vol. 18
277-288
EN
The article analyzes Historia secreta de Costaguana [2007] by the Colombian writer Juan Gabriel Vásquez, Polish traslation by Katarzyna Okrasko [2009], with the intention of demonstrate that the multiple transtextual relations present in the novel constitute his dominant.
2

Translation and Transtextuality

100%
Tapodi Z.
Acta Universitatis Sapientiae, Philologica
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2014
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vol. 6
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issue 1
45-51
EN
Umberto Eco’s novel The Name of the Rose as a postmodern literary work is extensively based on transtextuality. There are series of quotations from the Bible, Petrus Abelardus, St. Bernard, Petrarch, Conan Doyle, Agatha Christie, Jorge L. Borges, Nietzsche, and other classic authors interwoven into the novel’s narrative. The text is a result of multiple translations, a truly intercultural adventure: Adso, a 14th-century German monk from the Melk monastery provides a Northern Italian travel experience in Latin language, this memoir is translated by the publishing narrator into the Italian language of the 20th century. The characters of the story come from different areas of Europe, as there are monks from England, Spain, Norway, Germany, and other countries. This paper sheds light on the problems that occurred during the novel’s translation.
3
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Franz Schubert en Màrius Torres

89%
Carbó F.
Studia Romanica Posnaniensia
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2021
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vol. 48
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issue 3
19-34
EN
This study reviews the presence of the composer Franz Schubert in five poems by Màrius Torres. These texts were written between 1933 and 1938, while Torres consolidated and evolved as a poet. The writer from Lleida performed musical scores with the piano and the Austrian composer, through his Lieder, became a model, something that is evident in the different ways in which transtextuality is present, not only between the songs’ lyrics and Torres’ poems, but also between the musical compositions and these same poems. This study analyzes how, on the one hand, Schubert’s Lieder “Der Erlkönig” and “Der Tod und das Mädchen”, with texts by Johann Wolfgang Goethe and Matthias Claudius respectively, work as a starting point – or hypotext – for three poems by the Catalan poet, “El rei dels verns”, “La Mort i el Jove” and “Paraules de la Mort”, thus converted into hypertexts. On the other hand, Torres’ two poems “Adverbis de Schubert” and “Mai” refer to the Austrian composer from the intertextual relationship with the poem “Jamais” by Alfred de Musset. At the same time Torres mentions Schubert and the Lied “Ständchen” with text by Ludwig Rellstab in “Adverbis de Schubert”, but the Catalan poet hides Schubert’s copresence in “Mai”.
4
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W poszukiwaniu straconej tożsamości. Bowaryzm i melancholia w Postrzyżynach Bohumila Hrabala

88%
Sagata M.
Acta Philologica
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2014
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issue 45
228-234
XX
Analiza relacji transtekstualnych (Genette), a w szczególności roli motta „Pani Bovary to ja” w Postrzyżynach Bohumila Hrabala, wskazuje na obecność motywów charakterystycznych dla melancholii. Cytat z Flauberta całkowicie zmienia interpretacyjną optykę i pozwala patrzeć na główną bohaterkę powieści Hrabala również jako alter ego Emmy. W tym osobowościowym rozchwianiu przejawia się bowaryzm, czyli „zdolność postrzegania siebie innym, niż się jest” (de Gaultier), w którym zawiera się narracyjna strategia czeskiego pisarza.
5
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Znaczenie transtekstualności w prozie Andrása Cserny-Szabó na podstawie analizy opowiadania „Hazatérés” („Powrót do domu”)

88%
Sagata M.
Acta Philologica
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2016
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issue 49
303-308
EN
The purpose of this paper is to analyse the role of transtextual relationships in Andras Cserna-Szabo’s short-story “Hazateres” (“The homecoming”). I argue that transtextuality is the main stylistic device in the text – it is used not only to construct the plot but also to describe the main character. Its omnipresence allows to interpret the text on different levels, according to the reader’s competence. Using the theory of cognitive blending (metaphoric amalgams), I try to reveal the function of doppelganger’s motif.
6
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Interlinguistic crosses and transextuality in María Rosal

88%
ARRIAGA FLOREZ M., CERRATO D., DELLA ROCCA A.
Forum Filologiczne Ateneum
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2018
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vol. 6
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issue 1
11-21
EN
The objective of this article is to analyse the different textual strategies with which María Rosal Nadales makes a transtextual construction in her anthology "Al este del andén". The use of this technique responds to different reasons: the active role that is assigned to the reader and the playful character in which the writing is framed, the tribute to and poetic concordance with other authors, the surprise effect and the irony, the postmodern fusion of classical culture and popular culture and, finally, the ethical-aesthetic commitment to point out contradictions, create new metaphors and encourage the reader's reflection together with new ways of thinking, especially around the figure of the woman poet and the representation of the female body.
7
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Easter Eggs in Digital Games as a Form of Textual Transcendence (Case Study)

88%
Mago Z.
Acta Ludologica
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2019
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vol. 2
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issue 2
48-57
EN
Easter eggs are a well-known and popular phenomenon throughout the whole of pop culture, and the interactive nature of digital games unleashes the full potential of their implementation, as well as integrating them into the gamers’ experience. The study focuses on Easter eggs in digital games from a structural point of view to understand them on the fundamental text level. With this aim, the analysis consists of applying Genette’s textual transcendence to a specific digital game, The Talos Principle. The paper represents part of the introductory theoretical framework to the following research on comprehensive Easter eggs’ classification.
8
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Koncepcje dialogowości Michaiła Bachtina a prawo karne

63%
Barczak-Oplustil A.
Annales Universitatis Paedagogicae Cracoviensis. Studia Poetica
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2022
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vol. 10
146-164
EN
The article provides a look at the interpretation of the penal code from the perspective of Mikhail Bakhtin’s dialogic theory of the utterance. It was preceded by a description of the similarities and differences between literary text and legal text, indicated by representatives of “Law and Literature” movement. The reference point for these considerations was the verb “cause”, which was analyzed including the changing context, as well as its understanding by the addressees of the prohibition of which this word is a part.
PL
Artykuł stanowi spojrzenie na interpretację Kodeksu karnego z perspektywy koncepcji dialogowości Michaiła Bachtina. Poprzedzone ono zastało omówieniem podobieństw i różnic występujących między tekstem literackim a tekstem prawnym, na które wskazują przedstawiciele kierunku prawo i literatura. Punktem odniesienia dla czynionych rozważań był czasownik „powoduje”, analizowany z uwzględnieniem zmieniającego się kontekstu, jak również jego rozumienia przez adresatów zakazu, którego jest on częścią.
9
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Par-eikon: przypadek Ostatniej Wieczerzy

51%
Zarychta A.
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
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2014
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vol. 14
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issue 23
93-110
EN
The text is an attempt to analyze the evolution of aesthetic forms and motifs discussed on the example of the so-called “great figure” The Last Supper – the starting point for the analysis of the motif is the photography of David La Chapelle of the series: Jesus is my homeboy. Significant here is the context theory of parody by Linda Hutcheon – understood as a central point overview of contemporary art – a phenomenon combining fidelity to tradition and contemporary ideas of creative freedom, to express, among others, in need of confrontation with the ‘classic’ conventions – encroaching and deconstructive also in our contemporary pop-cultural processes of “image-consumption”.
PL
The text is an attempt to analyze the evolution of aesthetic forms and motifs discussed on the example of the so-called “great figure” The Last Supper – the starting point for the analysis of the motif is the photography of David La Chapelle of the series: Jesus is my homeboy. Significant here is the context theory of parody by Linda Hutcheon – understood as a central point overview of contemporary art – a phenomenon combining fidelity to tradition and contemporary ideas of creative freedom, to express, among others, in need of confrontation with the ‘classic’ conventions – encroaching and deconstructive also in our contemporary pop-cultural processes of “image-consumption”. 
10
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Approaches to Direct Transformation through the Examples of Selected Rock Cover Songs

51%
Niemiec M.
Świat i Słowo
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2023
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vol. 41
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issue 2
197-222
EN
Intertextuality, a term coined by Julia Kristeva, is a crucial aspect of all forms of creative expression, including literature, music, and art. The idea of intertextuality has been further expanded by Gérard Genette, who included intertextuality as one of the five aspects of the broader phenomenon of transtextuality. Among these several types is hypertextuality, which refers to the relationship between a text and its hypertextual extensions or variations. Within the scope of hypertextuality, Genette identified two methods of transforming a text A into a text B: direct and indirect transformation. This paper considers direct transformation. Although its primary association is with prose and poetry, it can also be extended to encompass song lyrics. In this article, several rock covers serve as examples of text B, and consideration is given to how they differ from their original counterparts (text A), albeit not in a musical form, but rather in terms of their lyrics. In the process, four different approaches were found for delivering a transformation of the original lyrics: fixed transformation, slight transformation, conversion of both the original meaning and lyrics, and considerable transformation.
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