Rereading and Intertextuality

Nel suo articolo Against Intertestuality del 2004, pubblicato in Philosophy & Literature, William Irwin sostiene che l’intertestualità dovrebbe essere «cancellata dal lessico degli umanisti sinceri e intelligenti». Secondo l’autore, invece, applicazioni corrette delle teorie dell’intertestualità possono rivelarsi particolarmente fruttuose, in particolare se applicate alla letteratura premoderna, prodotto di epoche in cui le relazioni tra testi e il processo di trasmissione della cultura erano radicalmente diversi da quella moderna. Un approccio al concetto classico e medievale di imitatio e æmulatio alla luce delle teorie dell’intertestualità può fornire nuovi elementi sulle modalità (intertestuali, interdiscorsive) del processo dantesco di imitatio nella Commedia. Analizzando un particolare topos della tradizione classica che è presente e ricorrente nella Commedia, quello del locus amœnus, l’autore mostra come l’analisi intertestuale faccia luce non solo sulle modalità di trasmissione della tradizione classica attraverso il tardoantico e il Medioevo, ma anche sulla cultura medievale in toto, inquadrandosi perfettamente nella specifica visione del mondo e della vita umana che il Medioevo possedeva. Secondo l’autore, il topos del locus amœnus è impiegato nella Commedia allo scopo di riassumere e condensare, e in ultima analisi alludere a, i valori e l’intera visione del mondo dell’antichità pagana, un referente-chiave alla tradizione classica nel suo insieme.
L’autore propone di usare, al posto del termine «intertestualità», per certi versi datato, ma soprattutto limitato, l’espressione «imitatio intertestuale/interdiscorsiva», che coglie meglio la complessità dell’uso dell’antico strumento retorico nel poema dantesco. Recenti strumenti digitali come Digital Dante (digitaldante.columbia.edu), mostrano il perdurare della rilevanza della ricerca sull’imitatio intertestuale/interdiscorsiva nella Commedia al giorno d’oggi, aprendo nuove prospettive di ricerca.

The article surveys recent scholarship on the use of creation imagery in the Gospel of John, with the aim of presenting rather exhaustive register of possible references. Both the obvious and the less clear-cut allusions to Gen 1–3 are discussed, the main focus being to accumulate and assess evidence (for or against) all the apparent references to creation imagery. Included in this examination are several unconvincing and even far-fetched proposals advanced by some modern scholars, in order to give the fullest possible picture of current discourse on these issues. After discussing the creation theme in the Prologue (1:1–18), the article explores the presence of creation imagery in the Book of Signs (1:19–12:50) and the Book of Glory (13:1–21:25)

Although many disparage ‘spoilers’ as ruining reading experiences by revealing plot details prematurely, comics readers commonly experience texts in ways that reveal story information out of order: eager readers will flip through a comic and catch glimpses of future narrative events, wandering eyes will scan panels out of order, etc. Upon closer inspection, ‘sequential’ art is often experienced in decidedly ‘non-sequential’ ways. While scholars in literary and media studies have analysed the role of spoilers in reception of books and television, the topic remains marginalized and under-explored in comics studies. This article argues that non-sequentiality and spoilers are historically and aesthetically central to comic narration, and that they facilitate, rather than impede, the pleasures we receive when engaging with such texts. Specifically, I show how non-sequential reading complicates any formal analysis of graphic storytelling, even as it increases the potential enjoyment readers may receive from comic narratives.

La apropiación de la materia de Bretaña en la literatura gallega contemporánea se enraíza en la búsqueda de un imaginario que conecta la tradición cultural propia con las culturas atlánticas de tradición celta. Mendez Ferrín se apropia de ese imaginario abordando la reescritura  de esa tradición desde la contemporaneidad y transforma la "muerte de artur" partiendo de un enigma que se resuelve por la fuerza del amor. Una fuerza que vivifica un nuevo proyecto de equilibrio y harmonía, con una proyección política opuesta a la muerte del reino que impone la Vulgata.

Comentario, en español, del Soneto 77 de Shakespeare, con especial atención al análisis de las imágenes, y a la dimensión reflexiva del poema. El soneto 77 articula una poética personal que combina la lectura, la escritura, la experiencia del paso del tiempo, y la relectura interpretativa, entendidos como parte del proceso hacia el autoconocimiento y la comprensión de la realidad humana.
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This is a commentary, in Spanish of Shakespeare's Sonnet 77, with special attention to the analysis of imagery and to the reflexive dimension of the poem. Sonnet 77 formulates a personal poetics which combines reading, writing, the experience of time passage, and interpretive rereading, understood as a path towards self-knowledge and insight into the human condition

The purpose of this paper is to present an analysis of certain episodes and motifs of Dante’s Purgatory which were partly inspired by the idea of the Otherworld and the category of space in the Book VI of Virgil’s Aeneid. In particular we examine the episode which takes place in the Valley of the Rulers (Pg. VII) and the concept of Dante’s Earthly Paradise to confront them with the idea of Virgilian Elysium. The intertextual dialogue of the Italian poet with the author of the Aeneid is sometimes polemical and based on aemulatio rather than on imitatio.

Journal of Literary Education / 2018 n. 1 58
http://doi.org/10.7203/JLE.1.12252
Donkey Xote cabalga distinto en España y en Italia:
reflexiones sobre la intertextualidad audiovisual
Mercedes Ariza. Fondazione Universitaria San Pellegrino, Italia. mercedes.ariza@fusp.it
Resumen
El objetivo del presente trabajo es analizar el fenómeno de la intertextualidad en el ámbito de la traducción de la literatura infantil y juvenil en general y en el campo de la traducción audiovisual en particular. Nuestro punto de partida es el análisis de los referentes intertextuales presentes en la película Donkey Xote (José Pozo, 2007) y en su versión para doblaje en italiano. Tras identificar las dificultades y las estrategias de traducción de la “intertextualidad audiovisual” (Martínez Sierra, 2010; Chaume, 2012), presentaremos algunos referentes intertextuales añadidos en italiano para implicar de manera más directa al espectador (adulto) italiano. De hecho, la versión italiana introduce alusiones inherentes al mundo cinematográfico estadounidense e italiano inexistentes en el TO con un afán de tipo humorístico evidente.

Abstract
The aim of the present paper is to analyse the intertextuality in the field of Translation of Children’s Literature and specially in Audiovisual Translation. We analyse the presence of intertextual elements in the Spanish animated film Donkey Xote (José Pozo, 2007) and in the Italian dubbing. After the identification of the difficulties and the strategies inside the Translation of the so called “audiovisual intertextuality” (Martínez Sierra, 2010; Chaume, 2012), we propose some intertextual elements introduced in the Italian version in order to capture the interest of an adult audience. In others words, the Italian dubbing shows particular allusions regarding American and Italian films that were conceived to create humour.

На VI Меѓународна научна конференција „Меѓународен дијалог: Исток – Запад“ што се одржа во Свети Николе на 17 и 18 април 2015 година во организација на Меѓународниот славјански универзитет „Гаврило Романович Державин“, Ранко Младеноски учествуваше со секциско предавање на тема „Дијалогизмот и интертекстуалноста во македонскиот роман“. Во текот на излагањето беа презентирани резултатите од извршените анализи на неколку македонски романи како илустрација за значајната улога на дијалогизмот и интертекстуалноста во историскиот развој на македонската романескна продукција.

A reading of gendered violence, body horror, "hyperreality," and postmodern cinematic nostalgia in Quentin Tarantino's 'Death Proof' through Jean Baudrillard's 'Simulacra and Simulation' and 'America' as well as Gilles Deleuze's "Coldness and Cruelty" ('Masochism').

What does it mean to have a feminine voice in a literary world dominated by male authors? What would it mean for the contemporary reader of ancient and medieval texts to be responsive to the distinctiveness of the feminine voice? This article addresses these questions by focusing on an eleventh- century epistolary exchange between the poet and clergyman Baudri of Bourgueil and Constance, a young nun at Le Ronceray Abbey in Angers. This amatory correspondence develops through a dialogue with a multiplicity of voices that are part of the classical erotic tradition. Examining the inter- textual web created by these letters, the essay shows why intertextuality is a key for deciphering a text’s articulation of the feminine.

Belén MATEOS BLANCO, "De la glorieta de los fugitivos a las Aventuras e invenciones del profesor Souto: intertextualidad e intratextualidad en los microrrelatos de José Mª Merino", Artifara 20.1 (2020) Contribuciones, pp. 47-57. Recibido el 24/03/2019 · Aceptado il 25/01/2020 De la glorieta de los fugitivos a las Aventuras e invenciones del profesor Souto: intertextualidad e intratextualidad en los microrrelatos de José Mª Merino BELÉN MATEOS BLANCO Universidad de Valladolid Resumen El universo literario de José Mª Merino parte del cuento para acercarse a la novela corta y afianzarse en el microrrelato. El recorrido por sus textos narrativos nos presenta a un autor inconformista, que busca un lector activo y cómplice de cada una de sus ficciones, además de recurrente en los temas que construyen sus mundos ficcionales: la doble identidad del escritor-protagonista, el limbo entre los sueños y la realidad, la controvertida magia de los recuerdos, la fragilidad del destino etc. Merino se nutre de mecanismos intertextuales e intratextuales para conectar con sus lectores desde una doble perspectiva, la de la literatura universal y la de la suya propia, para que estos no sólo conozcan lo narrado, sino que también lo reconozcan. Desde La glorieta de los fugitivos (2007) a las Aventuras e invenciones del profesor Souto (2017) la trayectoria literaria del autor vinculada al microrrelato pasa por dos volúmenes híbridos en los que se suceden distintos escritos narrativos: El libro de las horas contadas (2011) y La trama oculta: cuentos de los dos lados con una silva mínima (2014); la variedad de textos breves que conforman cada una de estas obras dejan entrever el gusto del escritor por el uso de recursos textuales muy característicos de la minificción, así como la experimentación e investigación en el carácter proteico del género. Abstract The literary universe of José Mª Merino starts from the short story to approach the short novel and establish itself in the micro story. The journey through his narrative texts introduces us to a nonconformist author, who is looking for an active and complicit reader of each of his fictions, as well as recurring on the themes that build his fictional worlds: the double identity of the writer-protagonist, the limbo between dreams and reality, the controversial magic of memories, the fragility of fate etc. Merino draws on intertextual and intratextual mechanisms to connect with its readers from a double perspective, that of universal literature and that of their own, so that they not only know what is narrated, but also recognize it. From La glorieta de los fugitivos (2007) to Aventuras e invenciones del profesor Souto (2017) the author's literary career linked to the short story goes through two hybrid volumes in which different narrative writings occur: El libro de las horas contadas (2011) and The hidden plot: stories from both sides with a minimum silva (2014); The variety of short texts that make up each of these works suggests the writer's taste for the use of textual resources that are very characteristic of minifiction, as well as experimentation and research on the proteic character of the genre.   El universo literario de José Mª Merino parte del cuento para acercarse a la novela corta y afianzarse en el microrrelato. El recorrido por sus textos narrativos nos presenta a un autor inconformista, que busca un lector activo y cómplice de cada una de sus ficciones, además de recurrente en los temas que construyen sus mundos ficcionales: la doble identidad del escritor-protagonista, el limbo entre los sueños y la realidad, la controvertida magia de los recuerdos,

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.

The cultural myth of Cleopatra was central to the aesthetic sensibility of the Russian Silver Age. Few attempts, however, have been made to unfold the intricate workings of the image of Cleopatra as a fatal lover—an image that proved extremely influential among Silver Age writers and was di­rectly inspired by Alexander Pushkin’s series of prose and verse fragments devoted to the Egyptian queen. Because Cleopatra-like heroines some­times appear under different names and in different costumes, a rigorous framework for identifying and contrasting these images is in order. This essay outlines the structure, genealogy, and time frame of such a project.

The imagery and detail of John 18.1-21.25 imbue it with a number of important theological implications.  These include the concepts of substitutionary atonement, a new kingdom, a new power structure on the earth, and more besides.  In the present note, I discuss the extent to which our text depicts Jesus’ death and resurrection as the start of a new divine creation.  John’s narrative has a number of contact-points with Gen. 1.1-3.24, which cast it as a creation story, but not just any old creation narrative:  Jesus’ triumph in John’s ‘garden’ is set in deliberate contrast to Adam’s failure;  as such, it depicts a new redeemed creation as opposed to an old fallen creation.  New creation, then, is not an interpretation theme which must be superimposed on top of John’s narrative;  rather, it is an integral part of the plot and drama of John’s view of Christ’s crucifixion.

Монография Л. Г. Пановой «Мнимое сиротство: Хлебников и Хармс в контексте русского и европейского модернизма» – попытка подвергнуть художественные произведения, манифесты и жизнетворческие практики первого авангарда непредвзятому рассмотрению, не зависимому как от культа авангарда, так и от сложившейся за столетие инерции его восприятия. В монографии проблематизируются: природа первого авангарда, легитимность того уникального места, которое он занял в сегодняшнем литературном каноне, и масштаб его новаторства (письмо с якобы чистого листа без опоры на предшественников). В развитие этой исследовательской программы прокладываются увлекательные интеллектуальные маршруты от существующих трактовок прославленных произведений Велимира Хлебникова («Заклятия смехом», «Мирасконца», «Ка», «Зангези» и др.) и знаменитой пьесы Даниила Хармса «Лапа» – через их контекстуализацию – к новым. В результате у обоих писателей обнаруживается богатейшая доавангардная родословная. Драматического пика анализ творчества Хлебникова и Хармса достигает при обсуждении их программных жестов разрыва с традицией, типа бросания Пушкина с парохода современности, долженствовавших отвлечь внимание аудитории от предшественников и сфокусировать его на грандиозном авторском «я». В целом оба писателя оказываются, сами того не желая, типичными представителями модернизма, разделяющими со своей эпохой интеллектуальные моды, сюжеты, мотивы, жизнетворческие и рекламные стратегии. Их принадлежность к модернизму демонстрируется и в разделе, посвященном нумерологическому топосу русской литературы. Почерпнув математический репертуар у современников-модернистов, Хлебников использовал его для создания своих автомифологем «Король времени» и основатель «звездного языка», на которые затем нетривиальным образом отреагировали обэриуты, а также другие модернисты, как авангардного, так и неавангардного толка, от Михаила Кузмина и Евгения Замятина до Вениамина Каверина и Осипа Мандельштама.
Для филологов, специализирующихся на авангарде и модернизме, и широкого круга читателей, интересующихся историей русской литературы. Второе издание, испр. и доп., - 2018.

Начало монографии см. здесь -  https://id.hse.ru/books/226935985.html ; там же ссылка на сайт, продающий электронную версию книги .

An Imaginary Orphanhood: Velimir Khlebnikov and Daniil Kharms in the Context of Russian and European Modernism (1st. ed. 2017, 2nd ed. 2018) by Lada Panova takes a new and revisionist look at the Russian avant-garde. It examines the literary works, manifestoes and life-as-art practices of Velimir Khlebnikov, Daniil Kharms and other avant-garde authors, countering various critical myths about the avant-garde (including its own), especially the notion that the movement arose ex nihilo, totally rejecting all authority or precedent and “writing from a clean slate.”
An Imaginary Orphanhood offers provocative readings of the most celebrated works by Khlebnikov (“Incantation by Laughter,” The World in Reverse, “Ka,” Zangezi, etc.) and of Kharms’ much discussed play Paw. In each case, analysis begins with an overview of accepted interpretations; goes on to contextualize the work by examining relevant intellectual fashions, cults and patterns of the epoch that came into play; and ends up offering some unexpected conclusions.
Among other things, this reexamination of Khlebnikov and Kharms’ works reveals the authors’ rich pre-avant-garde literary pedigrees. The demythologization of the “orphanhood” proclaimed by the first avant-gardists culminates in a discussion of Khlebnikov and Kharms’ programmatic gestures of rupture with tradition, such as the well-known call to throw Pushkin and the classics off the steamboat of modernity. These gestures aimed at deemphasizing the writers’ links to their predecessors and focused readers’ attention instead on their own grandiose selves. In reality, both Khlebnikov and Kharms emerge, unwittingly, as true sons of modernism who shared its intellectual concerns, as well as its strategies for self-advertising and for making art out of life (zhiznetvorchestvo).
The modernist manner of avant-garde thinking is also demonstrated in a section dedicated to the numerological topos in Russian literature. Khlebnikov reworked the modernist numerological repertoire, generating self-promotional mythemes and laying claim to such titles as “King of Time” and Founder of the universal “star language.”  These in turn provoked lively responses from Oberiu and other modernists, including Mikhail Kuzmin, Evgenii Zamiatin, Veniamin Kaverin and Osip Mandel’shtam.
An Imaginary Orphanhood targets specialists in Russian modernism and Russian avant-garde, as well as a wider readership interested in Russian literature.

What follows is an exploration of Luke 1.5-2.52’s flow and OT allusions.  In 1.5-2.52, Luke interweaves his account of John the Baptist’s appearance in Israel with Jesus of Nazareth’s appearance to great effect.  The two characters come face to face in ch. 3, at which point an old era in Israel’s history comes into contact with a new one.  Luke pays particularly close attention to the narratives of 1 Sam. 1-4 and Zech. 1-6, which portray the events of 1.5-2.52 as the inauguration of a new phase in ‘tabernacle history’.

Parody has been a strategy within cultural production since the ancient Greeks: “paraodia” referred to a song sung alongside the main narrative thread of a dramatic work; the prefix “para-” also signifies “against.” In A Theory of Parody: The Teachings of Twentieth-century Art Forms, Linda Hutcheon offers this core definition: parody is “a form of repetition with ironic critical distance, marking difference rather than similarity … [with] tension between the potentially conservative effect of repetition and the potentially revolutionary impact of difference” (xii). This and other aspects of Hutcheon’s theory guide my interpretations of works by three contemporary artists working in Canada: Sybil Lamb’s novel I’ve Got a Time Bomb; Ursula Johnson’s (Mi’kmaq) three-part exhibition Mi’kwite’tmn (Do You Remember); and Kent Monkman’s (Cree and Irish) exhibition Shame and Prejudice: A Story of Resilience.
I argue that the presence of parodic elements in these artists’ works enables them to do two things: to claim spaces that enable recognition of their subject positions, and to critique an aspect of hegemonic norms in contemporary society. I read Lamb’s novel as a critique of the heteronormative gender binary via parody of the picaresque genre and of heteronormative discourse/language. Certain pieces in Monkman’s exhibition parody the epistemological and display strategies of traditional Eurocentric anthropological museums and archives, as can Johnson’s work; her sculptural-installations may also be read as parodying the traditions of Mi’kmaw basket-making. The work of both artists critiques colonial narratives that sought (and may still seek) to denigrate and/or erase Indigenous peoples; such narratives of cultural genocide were both tacitly and directly propagated by museums. I analyze these three artists’ works, considering key features of parody (ambiguity; irony and “double-voicedness”; trans-contextualization; and humour), and their effects (defamiliarization; ontological instability; complicity; and laughter). Parody challenges the post-structuralist emphasis on the “decoder,” (viewer/reader) reinstating the “encoder” (artist/author) as agent. Decoders recognize their complicity within the context of the hegemonic narrative, whether the heteronormative gender binary or colonialism, and may come to shift perception – as per Hutcheon’s “potentially revolutionary impact.”

This essay seeks to explore how a doubly marginalized group such as Sinophone writers in Thailand uses intertextuality in order to come closer to what it perceives to be “the center” (namely, China). A close reading of some short stories and poems by two Sinophone writers from Thailand (Sima Gong and Zeng Xin) reveals not only the different intertextual references they contain but also the authors’ ambivalent sense of belonging at the same time to China and to Thailand. Their works give expression and development to the authors’ intention of introducing Sinophone literature from Thailand and offer a glimpse into their self-perception as writers.
The essay specifically discusses the two Sinophone authors’ works in the light of the notion developed by Sigmund Freud in his classic 1919 essay on “The Uncanny”—namely, the “unheimlich” in its opposition to the “heimelig”—pointing up how the authors’ construction of a troubled bond with their intended readership on their ethnic “mainland” can also be understood in these Freudian terms. It is also shown how the authors not only confirm but also question the Chinese literary canon and create their own role for this latter. The essay thus focuses upon the ways in which Sinophone literature mirrors the fraught identity of the Sinophone writing community in Thailand. It raises questions regarding the limits of what constitutes “Chinese” literature and the circumstances under which additions to said literature can be made by members of a broader Sinophone world.
Through this set of theoretical lenses I open up a new vantage point from which to perceive the practice of intertextuality—a practice which proves indispensable to Sinophone literature in Thailand inasmuch as it not only helps Sinophone Thai authors to achieve their goal of having their works recognized in China but also mirrors the authors’ fluid identity, which oscillates between this latter vast nation and Thailand itself.

Of the many blessings contained within the Old Testament, the blessing of Jer 29:11–14 is one of modern importance for the American church.

For I know the plans that I have planned for you, declares the Lord, peaceful plans and not contentious ones; to give to you a future and hope. And you will pray to me and I will hear you. And you will seek me and you will find me. For you must search for me with all your heart, then I will appear to you…

The importance of this blessing within the modern American church is witnessed by the plethora of Christian paraphernalia, which references Jer 29:11–14 as its inspiration. Two questions, then, stem from meditating on Jer 29:11–14 and the American church’s desire to obtain it: (1) How can one receive the blessing presented in these words, and (2) what does a life devoted to these words look like? The answers to these questions seem to place the modern American church in a somewhat awkward position.

This paper was a finalist in the Intersect Project Ph.D. Student Challenge Symposium. The symposium facilitated broader discussion in the church and academy about the intersection of faith, work, and economics.

The paper aims to determine allusions and references used in Lemony Snicket’s “A Series of
Unfortunate Events” to demonstrate how allusions and other intertextual referents affect the
socialization of knowledge. The methods of this study include theoretical research that consists of
analysing and studying the available literature on intertextuality and practical analysis of the
novels. The summative analysis of the findings shows that allusions and other intertextual
referents explain the interest of the dual audience of the novel. Intertextuality serves to amuse the
knowledgeable and educate the less erudite readers. The boundaries between children’s and
adult’s literature have been blurred, hence the defining factor is not the age, but cultural and
social background.

È possibile applicare l’analisi letteraria occidentale a testi di letteratura classica giapponese?
Nel presente intervento presenterò un tentativo di applicazione una teoria letteraria abbastanza nota - il concetto di transtexualité elaborato dal critico francese Gérard Genette - a un testo poetico in sino-giapponese del IX sec., il Kanke Bunsō - Kanke kōshū di Sugawara no Michizane. In particolare l’intervento si soffermerà sulle modalità in cui il testo poetico originale di Michizane sia stato in seguito rivisitato, rielaborato e manipolato da due autori posteriori, Fujiwara no Kintō nel Wakanrōeishū e Murasahi Shikibu nel Genji monogatari.
Spero di stimolare con questo intervento la riflessione non solo sulle teorie di intertestualità e sulla loro applicazione nei testi giapponesi, ma soprattutto sul valore che una tale operazione ha nell’affermazione, negazione o rinegoziazione di queste stesse teorie di origine eurocentrica.

Όπως συχνά επισημαίνεται από την κριτική, η πιο δραστική καινοτομία του Θανάση Βαλτινού όσον αφορά την αφήγηση έγινε όταν άφησε πίσω του το ρεαλιστικό είδος της πρωτοπρόσωπης μαρτυρίας και πέρασε στο μυθιστόρημα-ντοκουμέντο ή μυθιστόρημα τεκμηρίων, 1 καταργώντας τον αφηγητή και την πλοκή και αναθέτοντας την αφήγηση σε ντοκουμέντα, πλασματικά ή μη (επιστολές, διαφημιστικά φυλλάδια, πρακτικά δίκης, αποκόμματα του τύπου κτλ.). Το πρώτο μυθιστόρημα τεκμηρίων του Βαλτινού, τα Τρία ελληνικά μονόπρακτα (1978), συντίθεται από τρεις φακέλους διαφορετικής κατηγορίας ντοκουμέντων. Ο πρώτος περιέχει τα πρακτικά μιας δίκης μεταξύ δύο δεξιών απόστρατων αξιωματικών, βετεράνων του εμφυλίου. Στο δεύτερο μέρος παρατίθενται επιστολές που έλαβε από συγγενείς του ένας κατάδικος ενώ εκτίει την ποινή του σε διάφορες φυλακές. Το τρίτο μέρος αποτελείται από ένα διαφημιστικό φυλλάδιο με οδηγίες χρήσης μιας συσκευής κουζίνας. Τα ντοκουμέντα παρατίθενται συμπιληματικά, χωρίς κανένα σχόλιο-συνδετικό ιστό, γεγονός που δίνει την αίσθηση της αντικειμενικότητας και αναδεικνύει την αποσπασματικότητα της πρώτης ύλης, τα χάσματα και τις σιωπές του λόγου. Τα φαινομενικά ασύνδετα τρία μέρη του έργου, ωστόσο, συνδέονται με ένα υπόγειο νήμα, καθώς αντανακλούν διαφορετικές κοινωνικές, πολιτικές και γλωσσικές αντιλήψεις της μετεμφυλιακής Ελλάδας. Συνδέοντας το μυθιστόρημα του Βαλτινού με την τάση για αντικειμενοποίηση της λογοτεχνίας στην Ευρώπη και στην Αμερική, μετά τη γόνιμη θεωρητικά δεκαετία του 60, η Κυριακή Χρυσομάλλη-Henrich το χαρακτηρίζει ως faction σε αντιδιαστολή προς το fiction, εφόσον την /570 αφήγηση αναλαμβάνουν τα τεκμήρια. 2 Η σύνθεση αυτή που αποτέλεσε μια αντικειμενική και αποστασιοποιημένη χαρτογράφηση της κοινωνικής παθολογίας της εποχής, αποκαθήλωσε τον αφηγητή, αποθεώνοντας την αμεσότητα του τεκμηρίου και εγκαινιάζοντας μια νέα τεχνική αδιαμεσολάβητης παρουσίασης αρχειακού υλικού, πεποιημένου ή πραγματικού, την οποία ο συγγραφέας τελειοποίησε με το επόμενο έργο του Στοιχεία για τη δεκαετία του 60 (1989). Συνέπεια αυτής της τεχνικής ήταν και η ενεργός συμμετοχή του αναγνώστη ο οποίος καλείται να συνδυάσει τα τεκμήρια και να ερμηνεύσει ένα έργο του οποίου το νόημα παράγεται καλειδοσκοπικά: η αναγνωστική μετατόπιση και αναδιευθέτηση των στοιχείων μπορεί να αποκαλύψει μια άλλη εικόνα, οδηγώντας σε μια νέα ερμηνεία. 3 Εξετάζοντας τη διάδραση Ιστορίας και μυθοπλασίας, η ανθρωπολόγος Πηλενόπη Παπαηλία, υιοθετεί μια παρόμοια πρόσληψη για τα ιστορικά μυθιστορήματα του Βαλτινού (και ιδίως για το Ορθοκωστά (1994) το οποίο διερευνά συστηματικά), συνδέοντάς τα με τον μεταμοντερνισμό και την έννοια του αρχείου: «εναρμονισμένα με την επιλεκτικότητα και την πλασματικότητα, που χαρακτηρίζουν την πλαισίωση των τεκμηρίων, τα κειμενοποιημένα *Κατερίνα Κωστίου, Καθηγήτρια Νεοελληνικής Φιλολογίας, Τμήμα Φιλολογίας, Σχολή Ανθρωπιστικών και Κοινωνικών Επιστημών, Πανεπιστήμιο Πατρών, email: kostiou@upatras.gr, https://upatras.academia.edu/%CE%9A%CE%B1%CF%84%CE%B5%CF%81%CE%AF%CE%BD%CE%B1 Katerina%CE%9A%CF%89%CF%83%CF%84%CE%AF%CE%BF%CF%85Kostiou 1 Για το μυθιστόρημα-ντοκουμέντο βλ.Foley (1986). /570 2 Χρυσομάλλη-Henrich (2002: 32). 3 Όπως εύστοχα παρατηρεί η Χρυσομάλλη, η απάλειψη τoυ πρoσωπικoύ αφηγητή και η κατάργηση της διαμεσoλά-βησης σηματoδoτoύv στo επίπεδo τωv δoμώv τη σημαvτικότερη αvακαιvιστική πρoσπάθεια τωv τελευταίωv δεκα-ετιώv καταδεικvύovτας μέσα από τη λoγoτεχvική πράξη τηv oρθότητα τωv αvαγvωστικώv θεωριώv (Jauss, Iser) για τη σημασία τoυ αvαγvώστη στηv oριστική σύσταση τoυ κειμέvoυ. Στo έργo τoυ Βαλτιvoύ o ρόλoς τoυ αvαγvώστη απoβαίvει oριακός, εφόσov o συγγραφέας έχει απoσύρει τov αφηγητή τoυ και αφήvει τov απoδέκτη μόvo τoυ με τα γεγovότα, επιτρέπovτάς τoυ πρoσωπική πρόσληψη και ερμηvεία (ό.π., 29-30).

Julia Kristeva's contribution to the notion of intertextuality is immense. She not only
coined the word intertextuality but substantially stressed the importance of the potential
dynamics that lay within the text. Text is not a unilinear entity but a heterogeneous
combination of texts. Any text is at once literary and social, creative and cultural.
They are culturally and institutionally fashioned. Most of the ideas that Kristeva puts
forward is a rework or revision of Bakhtinian notion of intertextualiy. Bakhtin also
held the view point that the text cannot be detached from socio-cultural textuality
which is the backdrop in which a text is created. This paper is an attempt to trace and
interrogate the various notionsand ideas relating to intertextuality in Kristeva's thought.

英文学术界对电影《色·戒》的研究往往从女性主义和伦理主义的角度来解构民族主义与革命话语的宏大叙事。这样的解读令人信服地指出李安电影在对爱国者、刺客、汉奸的传统呈现方式之外所提供的另类叙事，但却陷入了另一种刻板叙述。本文对李安电影的解读有别于此。与其说李安否定公共空间和政治性，不如说他殚精竭虑地构造了种种既有助于展演欲望与伦理的力量，又能张扬民族主义和革命冲动的表演。聚焦李安通过对流行音乐、政治宣传剧及左翼电影的创造性化用在影片中塑造的三个表演片段，本文认为民族主义和革命冲动在《色·戒》电影中非但没被否定，反而在与欲望和伦理的错综纠缠中更强势地卷土而回。

"ABSTRACT:
    This study assumes the subject's pursuit of meaning is generally incapacitating and should be suspended. It aims to demonstrate how such a suspension is theoretically accomplished by utilizing Lacan's formulae of sexuation integrated with his work in discourse theory and topology.
    Part I places this study into context by examining scholarship from the established fields of hermeneutics, phenomenology, (post)structuralism, aesthetic theory and psychoanalysis in order to extract out their respective theory of meaning. These theories reveal that an historical struggle with meaning has been underway since the Reformation and reaches near crisis proportions in the 20th century. On the one hand this crisis is mollified by the rise of Heideggerian-Gadamerian hermeneutical phenomenology which questions traditional epistemological approaches to the text using a new ontological conceptualization of meaning and a conscious rejection of methodology. On the other hand this crisis is exacerbated when the ubiquitous nature of meaning is itself challenged by (post)structuralism's discovery of the signifier which inscribes a limit to meaning, and by the domains of sense and nonsense newly opened up by aesthetic theory. These historical developments culminate in the field of psychoanalysis which most consequentially delimits a cause of meaning said to be closely linked to the core of subjectivity.
    Part II extends these findings by rigorously constructing out of the Lacanian sexuated formulae a decidedly non-hermeneutical phenomenological approach useful in demonstrating the sexual nature of meaning. Explicated in their static state by way of an account of their original derivation from the Aristotelian logical square, it is argued that these four formulae are relevant to basic concerns of textual theory inclusive of the hermeneutical circle of meaning. These formulae are then set into motion by integrating them with Lacan's four discourses to demonstrate the breakdown of meaning. Finally, the cuts and sutures of two-dimensional space that is topology as set down in L'étourdit are performed to confirm how the very field of meaning is ultimately suspended from a nonsensical singular point known in Lacanian psychoanalysis as objet a. The contention is that by occupying this point the subject frees himself from the debilitating grip of meaning."

Un análisis de la intertextualidad en la novela "Estrella distante" de Roberto Bolaño con el enfoque en la relación del autor chileno con Bruno Schulz, un escritor polaco. Herramientas: teorías de la literatura y manuales de investigadores de polícia.
Texto escrito como tesis de máster.
***

An analysis of the intertextuality in Roberto Bolaño's novel "Distant Star" with the focus on the relation between the Chilean author and Bruno Schulz, a Polish writer.
Analytical tools: literary theories and a manual for police detectives. 
The text was written as a Master of Arts thesis.

Resumo O estudo da Bíblia como produção literária tem sido bastante prolífico, tendo como uma de suas vertentes a intertextualidade e recepção dos textos. Nesse artigo será analisada a intertextualidade entre o Livro de Provérbios e os escritos do Novo Testamento, procurando perceber de que forma os autores utilizaram o livro sapiencial. Esse estudo faz parte de um processo maior, que analisa a relação do Novo Testamento com o Antigo. Como abordagem metodológica, adotaremos o método comparativo, para perceber tais usos, por meio de quadros sinóticos que ajudem a observar o fenômeno da intertextualidade. O Livro de Provérbios é um marco na literatura sapiencial pela sua diversidade de fontes e possibilidades de aplicação, e se tornou parte da rica tradição judaica para a humanidade. Como resultado, esperamos demonstrar que as comunidades cristãs primitivas tinham viva em sua memória os ensinamentos apreendidos pela tradição judaica, seja pela pessoa de Jesus e seu estilo sapiencial, seja pelos apóstolos, considerando uma espiritualidade sapiencial. Palavras-chave: Intertextualidade. Livro de Provérbios. Recepção. Literatura