Intertextuality in Dan Leno and the Limehouse Golem

2008

In his book History and Poetics of Intertextuality Marko Juvan argues that intertextuality is constitutive of all textuality and that it may be foregrounded in literary works, genres, or styles such as parody. Juvan surveys the field in order to ground the poetics of intertextuality in the history of its idea and presents its development as general intertextuality (from Kristeva to New Historicism) and citationality (from Genette’s late structuralism to the present text theory). He also discusses the concept’s precursors since Antiquity (imitatio, influence, etc.). In modern times the concept emerged in the 1960s from a radical theory of writing. Based in Derrida’s deconstruction, the notion and practice of intertextuality implied a relational and transformative character of identity, meaning, subject, text, and socio-historical reality. In consequence, the notion gained currency in postmodernist aesthetics while in literary studies it has been transformed from its transgressive content into a detailed descriptive methodology. However, by bringing citationality into focus, practices of intertextuality suggest that literature is an autopoetic system, living on cultural memory, and interacting with other social discourses. The poetics of intertextuality Juvan proposes in his book is based mainly on semiotics and it elucidates factors determining the socio-historically elusive border between general intertextuality and citationality (encyclopaedic literary competence, paratext, etc.). In his analysis Juvan explores modes of intertextual representation. He stresses that in intertextuality pre-texts evoked or re-written in post-texts figure as interpretants of the latter and vice versa. Juvan’s analysis suggests that intertextual derivations and references have become common in literary culture as citational figures and genres.

Tato práce se zaměřuje na teorii intertextuality a na nejdůležitější směry této teorie. Dále představuje a analyzuje vybraná díla Dana Simmonse a nachází intrtextuální prvky v jeho dílech. Práce dochází k závěru, že intertextualita a její prvky jsou v dílech Dana Simmonse využívány v hojné míře. V jeho dílech jsou analyzovány jak nejzákladnější indikátory intertextuality jako jsou aluze a citace, tak i hlubší intertextuální vztahy zejména ve spojitosti s díly Johna Keatse. ABSTRACT This thesis focuses on the theory of intertextuality and on the most important approaches towards this theory. It focuses on introduction and analysis of selected works of Dan Simmons and it also examines the intertextual relationships in his works. The thesis concludes that intertextual relations and issues are very often used in the works of Dan Simmons. Analysis of his works has shown the most obvious indicators of intertextuality such as allusions and quotations and also deeper intertextual relations, mainly with connection to the works of John Keats.

Intertextuality and intersemiosis, 2004

International Journal of Social Sciences & Educational Studies

Literature is not the product of a specific nation; rather it is a combination of the experiences of all nations. So to speak, there is inheritance amongst the literary texts all over the world literature. Thinking of the global changes and technological development, it is quite easy to see the issue of interaction between the nations which is called "intertextuality". This concept appears in a literary work within different interactions. Especially the religions, trade, wars, social and or economic movement, internet and technology have significant roles in this because this interaction is provided through these factors in the society. Now that, the society is mirrored up in the literature, these affects necessarily will be seen in the literature and the scholars deal with finding formic, contently and stylistic resemblances among the cultures and literary areas in a literary work. In this study, two aspects of these interactions in the literature will be handled as theme-based and form-based. The stylistic resemblances will be treated under the form-based part.

2011

The setting of Dan Leno and the Limehouse Golem exemplifies the writer's view of London as composed of multiple layers of history and tradition which coexist and accrue to constitute its identity. Likewise, his other novels-Hawksmoor, The great fire of London, The house of Doctor Dee as well his fanciful history of the city, entitled London: the biography convey the writer's notion of London as a living being, overpowering and determining the lives of its inhabitants. Despite its mutability and the multifariousness of its material shape, London, in Ackroyd's view, retains its stable identity sub specie aeternitatis. In his essay "Some old haunts" the writer conveys his impressions of London's streets: it is possible to walk down a street and glimpse a face, or gesture, which seems to have sprung from some past time. These same gestures and movements, even the very words themselves, have been repeated and revived over many generations in that precise place. I have seen medieval faces, Elizabethan faces, eighteenth-century faces, and in that recognition I realized that in London it is possible to understand everything within the eye of eternity. (qtd. in Keen 2000: 15

Advances in Language and Literary Studies, 2014

This article aims at studying intertextuality in three different texts. These texts are: 1) Kierkegaard's "Fear and Trembling" 2) Salinger's "Franny and Zooey" and 3) Mehrjui's "Hamoon". To this end, Genette's (1997) concepts and ideas have been adapted. The main concepts are intertextuality and its three types: obvious intertextuality, concealed intertextuality and implicit intertextuality. Based on these concepts and how Genette defines them, it is shown that intertextuality in these texts is implicit rather than obvious or concealed.

Academia Letters, 2022

The Use of Intertextuality in The Bloody Chamber and Other Stories ZEYNEP KURT YILDIZ ''Most intellectual development depends upon new readings of old texts. I am all for putting new wine in old bottles, especially if the pressure of the new wine makes the bottles explode."-Angela Carter I aim to focus on Angela Carter's use of intertextuality in The Bloody Chamber in which she restructures the fairy tales into cultural dimensions. The Bloody Chamber consists of ten rewritten stories that rely on classical Western fairy tales. Carter tends to deconstruct the patriarchal ideologies embedded into the traditions of these fairy tales. As a way of restructuring Western thinking, intertextuality is used as a tool in The Bloody Chamber to call attention to the false universalizing of gender roles. In order to generate intertext, Carter employs parody by which she makes use of the plots of the fairy tales '' Little Red Riding Hood", ''Bluebeard", '' Beauty and the Beast" and ''Snow White" to rewrite them in a way of shattering conventional stereotypes. Simon Dentith defines parody as a form of intertextual allusion which '' includes any cultural practice which provides a relatively polemical allusive imitation of another cultural production or practice." (9). Intertextuality can be considered as an application of reproducing texts which rely on the words and concepts of other texts. Dynamic interaction between a text and other texts through direct quotation, translation, pastiche, allusion, collage, parody, and other kinds of intertextual figures produces an intertext which is new content with a new text. In postmodern literary works, intertextuality is utilized to interpret the text in the changing conditions of the present and to bring it into a new existence. As Linda Hutcheon states, this

Interlitteraria, 2022

Intertextuality became one of the most popular and important terms in the culture of the 20 th century. It is usually considered in connection with postmodernism and its ironic nature. Contemporary writing is still intertextual, though far from being postmodern. Moreover, even some medieval texts appear to operate intertextual tools systematically. The article presents examples of intertextuality in different novels from both the prepostmodern and postpostmodern worlds, and searches for a possible explanation for this phenomenon through methodical solutions that would improve our understanding of intertextuality in the frame of literature analysis. It shows that different features of intertextual writing should be carefully considered in the frame of postpostmodern literature and questions the accuracy of our approach to discussing cultural process.

The study of intertextuality has been a central pursuit of scholars of Greek and especially Latin literature. It promises to reveal the meaning of texts for original audiences, trace authorial influence, and illuminate an aspect of literary artistry. Yet inconsistent standards and the scattering of insights across publications have hindered progress. This article proposes restoring momentum toward the goals of intertextual study through an agenda of representing intertexts in a standard digital form susceptible to complex and systematic analysis.