"And no doubt that is what reading is: rewriting the text of the work within the text of our lives." Roland Barthos When discussing intertextuality, it could be argued that a text is not only written material such as plays, novel and magazines, but everything; that there is in fact no world outside of textuality. Your very life could be called a text, a story always being written, and every novel that you read, every programme you watch and every conversation that you have is, in Piaget's words, accomodated and assimilated into text of your life. Every novel, however, is not a single paragraph in your life, "I read so-and-so, and it taught me that..." No, when reading a work certain phrases, word choice and literary devices cause your brain to form connections to other material in your personal text, things that might not even seem relevant. The way Douglas Adams describes a character, for instance, might remind me of my grandfather, so in the text of my life, little bits are being added to the "character" of my grandfather, whether or not that is what the author had intended. Reading a work, then, is not a linear experience but an organic one. The "text of our lives" is like, if you would indulge me, a shrub. Furthermore, reading a work rarely causes a complete new branch to grow, in this paradigm-bush, but rather causes a little (or a lot) to be added to many different branches. In this way our life is constantly being made a denser, more beautiful thicket. A complete intertextual analysis of any book, therefore, would be well-nigh impossible, as the connections made in my mind between any work and the text of my life are innumerable, not to mention irrelevant to any person excepting myself. Authors, though, frequently... ... middle of paper ... ...s mind is unique, which is why I have used such broad terms for the purposes of discussion. Ultimately, there is very little, if anything, that is not intertextual to some degree, whether it is intertextual with regards to a specific work by another author or with an abstract concept. As has been said, it would be impossible to go through the rest of the novel paragraph by paragraph and indicate in which imaginary branch Adams is stimulating growth. It would be suffice to say that, through irony and other literary devices, Adams question our very paradigm. His particular brand of flippant humour questions the seriousness of life as we know it. Throughout, he pokes fun at our view of the world, forces us to question the answers that we thought we had. He, through his sardonic discourse, shakes the roots of shrub of text, inciting growth in almost every branch.
An example of intertextuality is in West Side Story. Although this is a play, I could connect it back to Romeo and Juliet. The musical is a modern day version of the Shakespeare book, so there was a lot of intertextuality between the two. When watching the play, I noticed that two gangs have always been enemies and are fighting for control over the area. This is much like the on going battle between the Capulets and Montagues. Knowing this helped me see the rivalry between the two gangs. On top of this, one of the gang members falls in love with a rival’s sister. Again, having read Romeo and Juliet,I could relate this part to it. The both have the same theme of wanting something you can’t have. Another example
In How to Read Literature like a Professor one of the new literary skills I learned was intertextuality. Intertextuality is a connection between different literary sources, such as “the ongoing interactions between poems and stories” (Foster 29). Similar to intertextuality, the
I believe that many authors a very influenced by their own background and the subjects they write about. Authors write about what is familiar. Authors write about something that they feel strongly about or love. I also feel that history and literature are closely related. Many great novels of this world have their basis in stories of the past, true stories taken from history.
Schwiebert, John E. Reading and Writing from Literature. (2nd ed.) Boston New York: Houghton Mifflin. 2001
I get my reading interest from my sister, when she was done with a book I would pick it up so that I can encounter those same experiences, and because I did so I realized every book is similar and different at the same time. Each author had a unique style, but each story would tell of another tale. For exam...
The Intertextuality and Analysis of Homoerotic Relations and Desires between UbiquitousMixie’s fan fiction “As Long As You Love Me” and its canon The Hours by Michael Cunningham. Intertextuality according to Genette is a “relationship between two texts [...] the actual presence of one text within another” (Allen 98). Genette’s theory of hypertextuality is presented as “literature which are intentionally inter-textual”. Genette uses the terms hypo- and hypertext, which means that the hypotext is considered as the source for the hypertext. In this case, “As Long As You Love Me” is the hypertext and its source is the hypotext; The Hours. Genette also argues that “the meaning of hypertextual works are depended on the reader’s knowledge [...] imitates
message are Jonathan Culler and Stephen Greenblatt. Culler points out that we read literature differently than we read anything else. According to the intertextual theory of how people read literature, readers make assumptions (based on details) that they would not make in real life.
"Any critical reading of a text will be strengthened by a knowledge of how a text is valued by readers in differing contexts."
Reading involves translating symbols and letters into words or sentences. Anderson defines reading as a process of constructing meaning from a written text. We indulge in reading for many different purposes, be it survival, leisure or occupational. In a way, reading serves as a kind communication between the writer and the reader. The writer encodes what he or she wishes to convey while the reader decodes according to his or her own perception. Johnson quotes “A young man should read five hours in a day, and so may acquire a great deal of knowledge.”
The text was written with reading out loud in mind, that can not be recommended; but it is suggested that the reader attend with his ear to what he takes off the page: for variations of tone, pace, shape, and dynamics are here particularly unavailable to the eye alone, and with their loss, a good deal of meaning escapes. (87)
Looking back over the course of the semester, I feel that I learned many new and interesting uses for technology within the classroom – both for classrooms that have a lot of technology and for classrooms that are limited with technology. For the majority of the class, we utilized William Kists’ book The Socially Networked Classroom: Teaching in the New Media Age (2010), which provided multiple modes of instruction that both utilized and/or created technology. One of the first things that I remember, and consequently that stuck with me through the course’s entirety, is that individuals must treat everything as a text. Even a garden is a text. The statement made me change the way that I traditionally viewed Language Arts both as a student and as a teacher, as I very narrowly saw literature and works of the like as texts only; however, by considering nearly anything as a text, one can analyze, study, and even expand his/her knowledge. Kist (2010) states that society is “experiencing a vast transformation of the way we “read” and “write,” and a broadening of the way we conceptualize “literacy” (p. 2). In order to begin to experience and learn with the modern classroom and technologically advanced students, individuals must begin to see new things as literature and analyze those things in a similar manner.
These are as follows: intertextuality, free indirect discourse, metanarration, internal monologue, digression (cf. Fill 2003a, 272; Fill 2003b, 22). Intertextuality refers to the interdependence between literary texts (Cuddon and Preston 1999, 424). Intertextuality can be made up of variety of functions such as quatations, plagiarisms, and allusions (Genette 1997b, XVIII). Every intertextual reference is a deviation from the usual text. Intertextual reference draws the attention of the reader in one direction, which is outside the prior reading direction and thus it initiates in reader the experience of suspense, which motivates him to process the intertextual reference in order to resume the original reading order (Sánchez Penzo 2010,
James E. Porter, the author of the text, Intertextuality and the Discourse Community, says that intertextuality is “the principle that all writing and speech—indeed, all signs—arise from a single network: what Vygotsky called “the web of meaning” (Porter 396). The “single network” that connects all of these ideas actually has many smaller aspects that create the buildup of this concept. Intertextuality can be considered knowledge from previously read texts, personal experience, or the less obvious form, extra-disciplinary activities. In my opinion, extra-disciplinary activities can be a very important type of intertextuality that is looked over a majority of the time.
"A novel is a living thing, all one and continuous, like any other organism, and in proportion as it lives will it be found, I think, that in each of the parts there is something of the other parts." (Kettle 12)
“The birth of the reader must be at the cost of the death of the Author.” – Roland Barthes