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BAUMAN, Richard: A World of Others’ Words: Cross-Cultural Perspectives on Intertextuality. Oxford: Blackwell Publishing 2004. 184 pp.
FIEDLER, Sabine: English Phraseology. A coursebook. Tübingen: Gunter Narr Verlag 2007. 198 pp.
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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.
This essay proposed to analyze the profile of Adriana Bittel’s writing with deep meta and intertextual accents. In a transgressive and textual framework of the 80’s generation prose, the work presents a new way of approaching the narrative by intentionally disposing all its mechanisms of conception, in a context in which the fiction self-comments and brings the reader with all the tools and components of “textual engineering”.
This study examines the intertextual influence of the courtroom spoken genre with the written genre used by judge’s summing up and lawyers’ closing arguments in Ethiopian Criminal court trial. In doing so, it employs the relational and comparison-expository structuring models. The relational struc- turing is used to give emphasis to the manner in which evidence items bear on particular issues and shows how evidence items are related to each other and to major facts in issues of judge’s summing-up while the comparison-expository structure is to intertextually link the spoken genres of the two opposing lawyers’ views with the Ethiopian criminal law written statutes. The findings of the study suggest that mixed rhetorical strategies, the judge’s relational summing up and the lawyers’ comparison-expository closing arguments, are more effective than a strict narrative strategy in addressing the final judgment of the argumenta- tion
Albrecht, Michael von. 2003. Cicero’s style: a Synopsis. Leiden: Brill.
Almazàn-García, Eva M. 2001. Dwelling in marble Halls: A Relevance-Theoretic Approach TO Intertextuality In Translation. Revista Alicantina de Estudios Ingleses 14. 7-19. doi: 10.14198/raei.2001.14.01
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Burke, Peter. 2004. Languages
’: Intertextuality in Malcolm Lowry’s ‘Through the Panama.’” Apparently Incongruous Parts: The Worlds of Malcolm Lowry. Ed. Paul Tiessen. Metuchen, NJ & London: Scarecrow, 1990. 187–230. Print.
Grace, Sherrill. The Voyage That Never Ends: Malcolm Lowry’s Fiction. Vancouver: U of Columbia P, 1982. Print.
Griffiths, Jane. Diverting Authorities: Experimental Glossing Practices in Manuscript and Print. Oxford: Oxford UP, 2015. Print.
Hallet, Wolfgang. “The Multimodal Novel: The Integration of Modes and Media in Novelistic Tradition.” Narratology in the Age of
Satirical Romanian press use irony form with the purpose to transpose realities in acid writing and to reform the problems which exist in our society. This study presents one of the most known ways to express irony: intertextuality. Through a series of examples extracted from the satirical press we will try to observe the role that the parody and the pastiche – as important elements of the intertextuality – hold in the expression of irony, but also the impact that they have on the reader.
In response to Chris Marker and Alain Resnais’s collaborative meditation on art and colonialism in Statues Also Die (1953), Duncan Campbell’s video installation It for Others (2013) takes a complex approach to presenting a Marxist criticism of the commoditization of art and culture. This article considers the intermedial and intertextual properties of It for Others as an example of convergence culture that transcends postmodern quotation and pastiche. While the film is apparently a bricolage of visual artefacts, it is in fact an intricately woven audiovisual essay concerned with the appropriation of not only colonized objects as its narration makes clear, but also of still images, moving images, written texts, sound samples, and the labour that produced them. The article examines how the film troubles notions of documentary realism and truth through its acts of appropriation that reflexively criticize the commercial appropriation and commoditization of artworks and histories. It also reflects on the film’s Marxist approach to related issues around authorship, ownership and access to artworks, particularly in the light of the film’s acknowledgement in prize culture.