intertextuality

The present study addresses one of the most recently debated areas in postmodern literature and art, the revival of interest in theatricality. The researcher aims to introduce a few strategies which are used to turn the intertextual elements and the pastiche into working tools for creating theatricality. In order to do so, Thomas Stoppard’s Rosencrantz and Guildenstern Are Dead (1967) which was later made into a movie version as well, directed by Stoppard himself, is examined. The study tries to show how theatricality can affect the performance as well as the contribution of the spectators to the dramatic text and performance. The shared experience of the pastiche made based on Hamlet by William Shakespeare, can contribute to the understanding of how theatricality can work when intertextuality is a powerful and positive force. The sample scenes chosen here are concluded to be the examples of how the illusion of having a stable identity is what not only the characters, the players or the author just assume to exist, but also what the text deliberately and constantly recreates. The playful nature of theatricality highlights the way each of these contributors willingly dupe themselves for the show to go on.

The purpose of the present article is to investigate Peter Carey’s Jack Maggs (1997) within a theoretical context set by Linda Hutcheon’s definition of parody. In Hutcheon’s view, parody is a repetition with critical distance. Hucheonian parody allows the adapted work to challenge and ironically transform the form and the content of the hypotext in order not to ridicule but to create. The central questions of this research are: How does Jack Maggs employ Hutcheonian parody within the broader postmodern narrative discourse to view its source text with a critical distance? And, how does Hutcheonian parody engage Jack Maggs in contemporary social debates? In order to answer these questions, the research applies various aspects of Hutcheonian parody to Carey’s novel. The present paper demonstrates that Carey’s Jack Maggs recontextualizes Charles Dickens’ Great Expectations (1860) in a new Australian setting. It also argues that the novel, which has mostly received positive responses and reactions from both literary critics and general readers, illustrates Carey’s parodic attempt to revisit one of the most renowned novels of the Victorian era. The present research contends that Jack Maggs is a critique of nineteenth-century realism and, more broadly speaking, of master narratives.

This study reports on research article (RA) authors’ definitional understanding and sociocultural perceptions of intertextuality and plagiarism in academic writing. To meet this end, a questionnaire, consisting of three sections, was constructed and emailed to Iranian RA authors who have published in leading international and local applied linguistics journals. The findings of the first two sections suggest that authors recognized the crucial role intertextuality plays in RAs; however, they had a flimsy understanding of the concept and its cultural bearings. On the other hand, unacceptable, as most of these respondents may find it, plagiarism was seen as an unavoidable part of academic research at least in initial steps of academic writing. This was shown to be mainly the function of the authors’ sociocultural perceptions of plagiarism. The third section of the questionnaire addressed the authors’ departure from plagiarism and gradual proximization to intertextuality. The findings imply that plagiarism, intertextuality and their concomitant sociocultural perceptions ought to be discussed, re-examined, and put to trial in local contexts

This study aims at exploring the developmental process from a novice writer to an expert academic contributor from a discursive viewpoint. Using a cross-sectional research design, the researcher was in contact with five graduate students (from M.A. to PhD) via semi-structured interviews and online communication. Based on the ideas of intertextuality and community of practice, the results obtained through text analysis showed two categories of intertextual references relevant for constructing genre knowledge, namely text-oriented practices (based on the discursive authority of texts) and expert-oriented practices (based on the discursive authority of experts). Moreover, novice writers were highly dependent on both text-oriented and expert-oriented practices but they favoured the former in their writing practices. Furthermore, since professional identity is an important aspect of genre knowledge, two identities of outsider and contributor were identified regarding this discourse community and its audience. The study concludes with implications for improving the discursive practices of the local academic community for developing professional identity of its novices.

Allusions in literary texts are among the elements which can cause intercultural misunderstanding. In this study, the translation of the  allusions of two narrative poems selected from Nizami’s The seven Images (Haft Gonbad) were studied. To this end, the frequent types of implicit allusions were extracted from the poems: The Black Dome and The White Dome . Next, the original text was compared with its English translations to identify whether these allusive meanings were found and transferred in their translations. To achieve this goal, Leppihalm’s (1997) model of translation strategies for key-phrase (KP) allusions was employed. The findings indicated that the most frequent strategy selected by the translators is literal translation. Rendering the poems into English literally, the translators ignored the implicit meanings underlying the allusions. The findings can have implications for translating literary texts.