Downloads & Free Reading Options - Results

The most famous manāqib (hagiography) of Syaikh Abd al-Qadir al-Jailānī in Java, is an-Nūr al-Burhānī, written by Kyai Muslih al-Marāqī, a Javanese translation of al-Barzanji’s al-Lujain ad-Dānī. However, this book has its uniqueness and can be regarded as a new book because Kyai Muslih is not only a translator but also a commentator of the book. This article aims to describe the relationship between the book and other text. By intertextuality analysis, this paper finds that an-Nūr al-Burhānī is a revision of some translation books of al-Lujain ad-Dāni that have existed before, as well as constructed by quotations from 30 books, 24 verses of al-Qur'an, 50 ḥadiṣ and some poems. The relationship of intertextuality is indicated by excerpt, expansion, modification, and conversion. The excerpt is seen in Kyai Muslih’s sounding about controversial issues related to Sufism. The expansion is found when he speaks more extensively about the issues he discusses. The modification is shown by shortening a lengthy ḥadiṣ, a citation, and a title of a book. The conversion is seen when he criticizes another opinion he regards as not valid. Finally, an-Nūr al-Burhānī serves as hypotext for the subsequent works. At least, two books in the Indonesian language, namely Terjemah Manaqib Syaikh Abdul Qadir Jailani by Moh Saifulloh al-Aziz and Penuntun Manaqib Syeikh Abdul Qadir al-Jailani by Baidlowi Syamsuri are the translations of Javanese an-Nūr al-Burhānī and not a direct translation of Arabic al-Lujain ad-Dāni. These findings underline the importance of the translator's competence in order to produce good translation works, as is modeled by Kyai Muslih.

This article examines the effects of using intertextual theories to refine writing instruction in culturally diverse contexts, in terms of transfer of learning. Within a wider, two-year intervention study in six schools, four teachers were observed for a term each to describe how intertextual theories resulted in refinements to writing instruction their Year 4-8 classes. These effective teachers of writing redesigned their writing programmes to create intertextual support for their writers. The nature of the changes resulted in writing instruction which allowed for incorporation of students' textual knowledge as well as an explicit focus on future applicability of their learning. The observed teaching practices arguably offered students a greater degree of authority over their situated textual knowledge than might otherwise exist. The results of the study offer possibilities for writing instruction to build students' knowledge through text inquiry as part of writing lessons.

Intertextuality is a hermeneutical strand of poststructuralism. In biblical scholarship, since Hays’s influential work Echoes of Scripture in the Letters of Paul (1989), the term has also been employed to refer to a later text’s interpretation of an earlier text.

Intertextuality is a hermeneutical strand of poststructuralism. In biblical scholarship, since Hays’s influential work Echoes of Scripture in the Letters of Paul (1989), the term has also been employed to refer to a later text’s interpretation of an earlier text.

It is known that the term "allusion" appears in many European languages already in the 16th century. But, despite the long tradition of using this word in foreign literary criticism and linguistics, the phenomenon itself begins to be actively studied only at the end of the 20th century. At present, due to the interest in implicit ways of transmitting information in the text, more and more attention of researchers is attracted by such a stylistic device as allusion. Allusion is usually considered either from the standpoint of the theory of intertextuality, or from the standpoint of stylistics. However, it is worth emphasizing that these two approaches have much in common and complement each other.

It is known that the term "allusion" appears in many European languages already in the 16th century. But, despite the long tradition of using this word in foreign literary criticism and linguistics, the phenomenon itself begins to be actively studied only at the end of the 20th century. At present, due to the interest in implicit ways of transmitting information in the text, more and more attention of researchers is attracted by such a stylistic device as allusion. Allusion is usually considered either from the standpoint of the theory of intertextuality, or from the standpoint of stylistics. However, it is worth emphasizing that these two approaches have much in common and complement each other.

It is known that the term "allusion" appears in many European languages already in the 16th century. But, despite the long tradition of using this word in foreign literary criticism and linguistics, the phenomenon itself begins to be actively studied only at the end of the 20th century. At present, due to the interest in implicit ways of transmitting information in the text, more and more attention of researchers is attracted by such a stylistic device as allusion. Allusion is usually considered either from the standpoint of the theory of intertextuality, or from the standpoint of stylistics. However, it is worth emphasizing that these two approaches have much in common and complement each other.

Critical Writing and Intertextuality in the EFL Classroom Zohra Merabti & Dr. Halima Benzoukh, Kasdi Merbah University Ouargla, Algeria   The Fifth Annual International Conference on Languages, Linguistics, Translation and Literature 2-3 February 2021, Ahwaz For more information, please visit the conference website: WWW.LLLD.IR

This work analyses the contrast created in William Somerset Maugham’s literary composition, with reference to the theme of ‘Escape’. Escape is, indeed, a recurrent theme in such Maugham’s short stories as ‘The Escape’, ‘Mabel’, ‘A Friend in Need,’ ‘The Taipan’, ‘The Verger’, and others. The analysis thereof unfolds through the scrutiny of two samples of these short stories videlicet ‘The Escape’ and ‘Mabel’. In real life, it happens to us to escape either from a country, a nightmare, a delicate financial situation, a mediocre existence, or else. Likewise, in fiction, Roger Charing and George escape from Ruth Barlow and Mabel, the ladies they are engaged to before the wedding days respectively in ‘The Escape’ and ‘Mabel’. This escape, an interconnection between these stories, is prompted by their sudden falling out of love, which is inexplicable in the narrators’ words, because as Blaise Pascal thinks, the heart has reasons that reason itself knows nothing about. Apart from this common denominator, the two stories contrast sharply at different levels of their components as setting, characters... To investigate this contrast, owing to the economy and simplicity of the storytelling that characterise a short story, these stories require close scrutiny and textual approach.

One of the main issues often discussed among academics is how to encourage active participation by students during classroom discussions. This applies particularly to students at the tertiary level who are expected to possess creative and critical thinking skills. Hence, this paper reports on a study that examined how these skills were demonstrated by a group of university students who employed intertextual links during a follow-up reading activity involving small-group text discussions. Thirty undergraduates who were in their fifth semester of a TESL degree programme were prescribed reading texts consisting of two chapters taken from a book. Findings reveal that intertextual links made during text discussions created successfully a "collaborative environment" where beliefs and values were shared judicially among participants. Pedagogical implications for ESL classroom practice include heightening the awareness amongst academics and students of the role of intertextuality in order to promote students' use of their critical and creative thinking skills in a supportive classroom environment.

One of the main issues often discussed among academics is how to encourage active participation by students during classroom discussions. This applies particularly to students at the tertiary level who are expected to possess creative and critical thinking skills. Hence, this paper reports on a study that examined how these skills were demonstrated by a group of university students who employed intertextual links during a follow-up reading activity involving small-group text discussions. Thirty undergraduates who were in their fifth semester of a TESL degree programme were prescribed reading texts consisting of two chapters taken from a book. Findings reveal that intertextual links made during text discussions created successfully a "collaborative environment" where beliefs and values were shared judicially among participants. Pedagogical implications for ESL classroom practice include heightening the awareness amongst academics and students of the role of intertextuality in order to promote students' use of their critical and creative thinking skills in a supportive classroom environment.

Our social worlds are visually saturated. A feature of post-modern society is its relentless traffic in images, often borrowed from diverse times and places, and patched together in ever changing ways. This traffic serves commercial purposes, shapes identities, and increasingly stands in for reality itself. As a newspaper columnist noted, "most of us have seen far more images of reality than we have actual landscapes, personalities, or violence. Even an event as unique as September 11 cannot seem to stand on its own. Think of all those who said they felt they were watching a movie." Teaching students to read this flow of images is a task shared across all school subjects. For social studies educators, though, the visual is significant because it carries and interprets the social. Pictures frame the events, issues, and values of our collective experience. They show what to believe and do, and who our heroes and friends are supposed to be. They entertain, inform, comfort, disturb, and cajole. So do the images within social studies textbooks, and understanding how this works is part of learning to interpret the broader social world. A helpful tool is the concept of intertextuality as used within the literature of visual culture where authors theorize the production, circulation, uses, and changing meanings of images across time and place. The purpose of this article is to discuss three questions: (1) What is intertextuality? (2) What forms does it take? and (3) What are the implications? Such questions are important for social educators because "human experience is now more visual and visualized than ever before. In many ways, people in industrialized and post-industrial societies now live in visual cultures to an extent that seems to divide the present from the past." Intertextuality is central to this experience.

To understand literature, it is necessary for a reader to make connections between the text of the literary work and the text of the reader's life. Student autobiographical writing before reading can be used to enhance students' ability to make such connections. Autobiographical writing helps students apply relevant life experience that might not be readily evoked by a literary text. Even the most successful student readers might not otherwise apply their lives to the literature they read. They may remain submissive to literary texts, thinking it is the text's job to make any connections that need to be made. Asking students to write about their lives vests them with an authority they might otherwise not feel and demonstrates to them a teacher's belief in the importance of students' connecting their lives to the literature they read. Student writing models indicate that autobiographical writing before reading appears to have positive effects on both students' understanding of and attitude toward literature. Furthermore, a study has shown that students who engaged in autobiographical writing before reading tended to like stories better than those who did no writing, and students who did not engage in autobiographical writing liked stories less after discussion. By allowing students to reflect on their lives, teachers can help them have more meaningful transactions with literature. (Eight writing prompts are attached. (SG)

This paper stems from a study of an eighth-grade writing club in an urban school. The study asked: How would students use a community-based set of texts to create identities for themselves and each other in relation to their communities, their schooling, and writing and to examine issues of personhood? The paper theorizes about what the notions of personhood and intertextuality contribute to educators' conceptions of literacy teaching and learning. It provides a definition of personhood, reviews related research, and presents an analytical framework which includes a rationale for why personhood and literacy are productively investigated through the intertextuality heuristic. To elaborate on the theoretical ideas presented, the paper focuses on two aspects of the writing club: (1) the ways two students took up opportunities presented to them as they participated for shaping and reshaping discourse practices about personhood along the dimensions of history, music, racial and ethnic identity, and womanhood; and (2) the significance of the study's framing in providing opportunities for students to make intertextual links between their research studies and the literacy practices of community members. In addressing how the students took up their literacy practices, the paper elaborates on the discourse practices that framed the writing project, which opened up what is described as an "intertextual field" containing dynamic potential for students to create intertextual links between their inquiry into community issues and the inquiry of community members who were using research and writing to address similar issues. (Contains two tables, five transcripts, eight notes, and 92 references.) (NKA)

Intertextuality Wiki dumped with WikiTeam tools.

Intertextuality Wiki dumped with WikiTeam tools.

The digitalization has created a huge impact not only on various aspects of life but also on literature. Earlier, a traditional approach was used to analyze texts with the help of intertextuality, but due to the introduction of novel technologies like multimedia, AI-generated text, algorithms, and virtual reality, it has become complicated to effectively interpret works. Due to this, a new approach is required, i.e., digital intertextuality theory. It connects old concepts with new ones to explore this new digital literary age. Moreover, it can aid us in finding how conventional intertextuality combines with the new technology of user interactions to provide a thorough understanding of how stories are created and analysed in the 21st century. With this new perspective, the gap between conventional and contemporary can be bridged. It can assist scholars, students, researchers, and critics in comprehending the baffling world of new literature. It will also expand and give new areas for research by creating an impact beyond the literature fields.

Julia Kristeva’s concept of Intertextuality signifies the relations of texts through their references of ideas, wording and ideological resonances. This paper investigates the intertextual dimensions of Narayan Surve’s poem Karl Marx, presenting how it integrates ideological, historical, cultural, and literary elements within the idea of class struggle. Through Mikhail Bakhtin’s dialogism theory and Marxist literary criticism, the study highlights how the poet Surve builds dialogue between past and present, representing the Marxist ideas in contemporary labour movements. The localisation of Karl Marx through oral traditions and cultural references shows how intertextuality functions as a vehicle for ideological and political solidarity. The poet Narayan Surve’s depiction of Marx as an active presence breaks the linearity of historical texts, representing class consciousness through poetic expression. Additionally, the poem’s reference to Goethe further embroils the relationship between art and revolution, signifying the role of literature in designing proletarian agency. By analysing these intertextual strategies, this paper argues that the poem Karl Marx exemplifies how poetry can be a medium for ideological resistance, linking historical materialism with lived experience.

Julia Kristeva’s concept of Intertextuality signifies the relations of texts through their references of ideas, wording and ideological resonances. This paper investigates the intertextual dimensions of Narayan Surve’s poem Karl Marx, presenting how it integrates ideological, historical, cultural, and literary elements within the idea of class struggle. Through Mikhail Bakhtin’s dialogism theory and Marxist literary criticism, the study highlights how the poet Surve builds dialogue between past and present, representing the Marxist ideas in contemporary labour movements. The localisation of Karl Marx through oral traditions and cultural references shows how intertextuality functions as a vehicle for ideological and political solidarity. The poet Narayan Surve’s depiction of Marx as an active presence breaks the linearity of historical texts, representing class consciousness through poetic expression. Additionally, the poem’s reference to Goethe further embroils the relationship between art and revolution, signifying the role of literature in designing proletarian agency. By analysing these intertextual strategies, this paper argues that the poem Karl Marx exemplifies how poetry can be a medium for ideological resistance, linking historical materialism with lived experience.

Julia Kristeva’s concept of Intertextuality signifies the relations of texts through their references of ideas, wording and ideological resonances. This paper investigates the intertextual dimensions of Narayan Surve’s poem Karl Marx, presenting how it integrates ideological, historical, cultural, and literary elements within the idea of class struggle. Through Mikhail Bakhtin’s dialogism theory and Marxist literary criticism, the study highlights how the poet Surve builds dialogue between past and present, representing the Marxist ideas in contemporary labour movements. The localisation of Karl Marx through oral traditions and cultural references shows how intertextuality functions as a vehicle for ideological and political solidarity. The poet Narayan Surve’s depiction of Marx as an active presence breaks the linearity of historical texts, representing class consciousness through poetic expression. Additionally, the poem’s reference to Goethe further embroils the relationship between art and revolution, signifying the role of literature in designing proletarian agency. By analysing these intertextual strategies, this paper argues that the poem Karl Marx exemplifies how poetry can be a medium for ideological resistance, linking historical materialism with lived experience.

Julia Kristeva’s concept of Intertextuality signifies the relations of texts through their references of ideas, wording and ideological resonances. This paper investigates the intertextual dimensions of Narayan Surve’s poem Karl Marx, presenting how it integrates ideological, historical, cultural, and literary elements within the idea of class struggle. Through Mikhail Bakhtin’s dialogism theory and Marxist literary criticism, the study highlights how the poet Surve builds dialogue between past and present, representing the Marxist ideas in contemporary labour movements. The localisation of Karl Marx through oral traditions and cultural references shows how intertextuality functions as a vehicle for ideological and political solidarity. The poet Narayan Surve’s depiction of Marx as an active presence breaks the linearity of historical texts, representing class consciousness through poetic expression. Additionally, the poem’s reference to Goethe further embroils the relationship between art and revolution, signifying the role of literature in designing proletarian agency. By analysing these intertextual strategies, this paper argues that the poem Karl Marx exemplifies how poetry can be a medium for ideological resistance, linking historical materialism with lived experience.

Julia Kristeva’s concept of Intertextuality signifies the relations of texts through their references of ideas, wording and ideological resonances. This paper investigates the intertextual dimensions of Narayan Surve’s poem Karl Marx, presenting how it integrates ideological, historical, cultural, and literary elements within the idea of class struggle. Through Mikhail Bakhtin’s dialogism theory and Marxist literary criticism, the study highlights how the poet Surve builds dialogue between past and present, representing the Marxist ideas in contemporary labour movements. The localisation of Karl Marx through oral traditions and cultural references shows how intertextuality functions as a vehicle for ideological and political solidarity. The poet Narayan Surve’s depiction of Marx as an active presence breaks the linearity of historical texts, representing class consciousness through poetic expression. Additionally, the poem’s reference to Goethe further embroils the relationship between art and revolution, signifying the role of literature in designing proletarian agency. By analysing these intertextual strategies, this paper argues that the poem Karl Marx exemplifies how poetry can be a medium for ideological resistance, linking historical materialism with lived experience.

Julia Kristeva’s concept of Intertextuality signifies the relations of texts through their references of ideas, wording and ideological resonances. This paper investigates the intertextual dimensions of Narayan Surve’s poem Karl Marx, presenting how it integrates ideological, historical, cultural, and literary elements within the idea of class struggle. Through Mikhail Bakhtin’s dialogism theory and Marxist literary criticism, the study highlights how the poet Surve builds dialogue between past and present, representing the Marxist ideas in contemporary labour movements. The localisation of Karl Marx through oral traditions and cultural references shows how intertextuality functions as a vehicle for ideological and political solidarity. The poet Narayan Surve’s depiction of Marx as an active presence breaks the linearity of historical texts, representing class consciousness through poetic expression. Additionally, the poem’s reference to Goethe further embroils the relationship between art and revolution, signifying the role of literature in designing proletarian agency. By analysing these intertextual strategies, this paper argues that the poem Karl Marx exemplifies how poetry can be a medium for ideological resistance, linking historical materialism with lived experience.

Julia Kristeva’s concept of Intertextuality signifies the relations of texts through their references of ideas, wording and ideological resonances. This paper investigates the intertextual dimensions of Narayan Surve’s poem Karl Marx, presenting how it integrates ideological, historical, cultural, and literary elements within the idea of class struggle. Through Mikhail Bakhtin’s dialogism theory and Marxist literary criticism, the study highlights how the poet Surve builds dialogue between past and present, representing the Marxist ideas in contemporary labour movements. The localisation of Karl Marx through oral traditions and cultural references shows how intertextuality functions as a vehicle for ideological and political solidarity. The poet Narayan Surve’s depiction of Marx as an active presence breaks the linearity of historical texts, representing class consciousness through poetic expression. Additionally, the poem’s reference to Goethe further embroils the relationship between art and revolution, signifying the role of literature in designing proletarian agency. By analysing these intertextual strategies, this paper argues that the poem Karl Marx exemplifies how poetry can be a medium for ideological resistance, linking historical materialism with lived experience.

Julia Kristeva’s concept of Intertextuality signifies the relations of texts through their references of ideas, wording and ideological resonances. This paper investigates the intertextual dimensions of Narayan Surve’s poem Karl Marx, presenting how it integrates ideological, historical, cultural, and literary elements within the idea of class struggle. Through Mikhail Bakhtin’s dialogism theory and Marxist literary criticism, the study highlights how the poet Surve builds dialogue between past and present, representing the Marxist ideas in contemporary labour movements. The localisation of Karl Marx through oral traditions and cultural references shows how intertextuality functions as a vehicle for ideological and political solidarity. The poet Narayan Surve’s depiction of Marx as an active presence breaks the linearity of historical texts, representing class consciousness through poetic expression. Additionally, the poem’s reference to Goethe further embroils the relationship between art and revolution, signifying the role of literature in designing proletarian agency. By analysing these intertextual strategies, this paper argues that the poem Karl Marx exemplifies how poetry can be a medium for ideological resistance, linking historical materialism with lived experience.

Julia Kristeva’s concept of Intertextuality signifies the relations of texts through their references of ideas, wording and ideological resonances. This paper investigates the intertextual dimensions of Narayan Surve’s poem Karl Marx, presenting how it integrates ideological, historical, cultural, and literary elements within the idea of class struggle. Through Mikhail Bakhtin’s dialogism theory and Marxist literary criticism, the study highlights how the poet Surve builds dialogue between past and present, representing the Marxist ideas in contemporary labour movements. The localisation of Karl Marx through oral traditions and cultural references shows how intertextuality functions as a vehicle for ideological and political solidarity. The poet Narayan Surve’s depiction of Marx as an active presence breaks the linearity of historical texts, representing class consciousness through poetic expression. Additionally, the poem’s reference to Goethe further embroils the relationship between art and revolution, signifying the role of literature in designing proletarian agency. By analysing these intertextual strategies, this paper argues that the poem Karl Marx exemplifies how poetry can be a medium for ideological resistance, linking historical materialism with lived experience.

Julia Kristeva’s concept of Intertextuality signifies the relations of texts through their references of ideas, wording and ideological resonances. This paper investigates the intertextual dimensions of Narayan Surve’s poem Karl Marx, presenting how it integrates ideological, historical, cultural, and literary elements within the idea of class struggle. Through Mikhail Bakhtin’s dialogism theory and Marxist literary criticism, the study highlights how the poet Surve builds dialogue between past and present, representing the Marxist ideas in contemporary labour movements. The localisation of Karl Marx through oral traditions and cultural references shows how intertextuality functions as a vehicle for ideological and political solidarity. The poet Narayan Surve’s depiction of Marx as an active presence breaks the linearity of historical texts, representing class consciousness through poetic expression. Additionally, the poem’s reference to Goethe further embroils the relationship between art and revolution, signifying the role of literature in designing proletarian agency. By analysing these intertextual strategies, this paper argues that the poem Karl Marx exemplifies how poetry can be a medium for ideological resistance, linking historical materialism with lived experience.

Julia Kristeva’s concept of Intertextuality signifies the relations of texts through their references of ideas, wording and ideological resonances. This paper investigates the intertextual dimensions of Narayan Surve’s poem Karl Marx, presenting how it integrates ideological, historical, cultural, and literary elements within the idea of class struggle. Through Mikhail Bakhtin’s dialogism theory and Marxist literary criticism, the study highlights how the poet Surve builds dialogue between past and present, representing the Marxist ideas in contemporary labour movements. The localisation of Karl Marx through oral traditions and cultural references shows how intertextuality functions as a vehicle for ideological and political solidarity. The poet Narayan Surve’s depiction of Marx as an active presence breaks the linearity of historical texts, representing class consciousness through poetic expression. Additionally, the poem’s reference to Goethe further embroils the relationship between art and revolution, signifying the role of literature in designing proletarian agency. By analysing these intertextual strategies, this paper argues that the poem Karl Marx exemplifies how poetry can be a medium for ideological resistance, linking historical materialism with lived experience.

Julia Kristeva’s concept of Intertextuality signifies the relations of texts through their references of ideas, wording and ideological resonances. This paper investigates the intertextual dimensions of Narayan Surve’s poem Karl Marx, presenting how it integrates ideological, historical, cultural, and literary elements within the idea of class struggle. Through Mikhail Bakhtin’s dialogism theory and Marxist literary criticism, the study highlights how the poet Surve builds dialogue between past and present, representing the Marxist ideas in contemporary labour movements. The localisation of Karl Marx through oral traditions and cultural references shows how intertextuality functions as a vehicle for ideological and political solidarity. The poet Narayan Surve’s depiction of Marx as an active presence breaks the linearity of historical texts, representing class consciousness through poetic expression. Additionally, the poem’s reference to Goethe further embroils the relationship between art and revolution, signifying the role of literature in designing proletarian agency. By analysing these intertextual strategies, this paper argues that the poem Karl Marx exemplifies how poetry can be a medium for ideological resistance, linking historical materialism with lived experience.

Julia Kristeva’s concept of Intertextuality signifies the relations of texts through their references of ideas, wording and ideological resonances. This paper investigates the intertextual dimensions of Narayan Surve’s poem Karl Marx, presenting how it integrates ideological, historical, cultural, and literary elements within the idea of class struggle. Through Mikhail Bakhtin’s dialogism theory and Marxist literary criticism, the study highlights how the poet Surve builds dialogue between past and present, representing the Marxist ideas in contemporary labour movements. The localisation of Karl Marx through oral traditions and cultural references shows how intertextuality functions as a vehicle for ideological and political solidarity. The poet Narayan Surve’s depiction of Marx as an active presence breaks the linearity of historical texts, representing class consciousness through poetic expression. Additionally, the poem’s reference to Goethe further embroils the relationship between art and revolution, signifying the role of literature in designing proletarian agency. By analysing these intertextual strategies, this paper argues that the poem Karl Marx exemplifies how poetry can be a medium for ideological resistance, linking historical materialism with lived experience.

Julia Kristeva’s concept of Intertextuality signifies the relations of texts through their references of ideas, wording and ideological resonances. This paper investigates the intertextual dimensions of Narayan Surve’s poem Karl Marx, presenting how it integrates ideological, historical, cultural, and literary elements within the idea of class struggle. Through Mikhail Bakhtin’s dialogism theory and Marxist literary criticism, the study highlights how the poet Surve builds dialogue between past and present, representing the Marxist ideas in contemporary labour movements. The localisation of Karl Marx through oral traditions and cultural references shows how intertextuality functions as a vehicle for ideological and political solidarity. The poet Narayan Surve’s depiction of Marx as an active presence breaks the linearity of historical texts, representing class consciousness through poetic expression. Additionally, the poem’s reference to Goethe further embroils the relationship between art and revolution, signifying the role of literature in designing proletarian agency. By analysing these intertextual strategies, this paper argues that the poem Karl Marx exemplifies how poetry can be a medium for ideological resistance, linking historical materialism with lived experience.

Julia Kristeva’s concept of Intertextuality signifies the relations of texts through their references of ideas, wording and ideological resonances. This paper investigates the intertextual dimensions of Narayan Surve’s poem Karl Marx, presenting how it integrates ideological, historical, cultural, and literary elements within the idea of class struggle. Through Mikhail Bakhtin’s dialogism theory and Marxist literary criticism, the study highlights how the poet Surve builds dialogue between past and present, representing the Marxist ideas in contemporary labour movements. The localisation of Karl Marx through oral traditions and cultural references shows how intertextuality functions as a vehicle for ideological and political solidarity. The poet Narayan Surve’s depiction of Marx as an active presence breaks the linearity of historical texts, representing class consciousness through poetic expression. Additionally, the poem’s reference to Goethe further embroils the relationship between art and revolution, signifying the role of literature in designing proletarian agency. By analysing these intertextual strategies, this paper argues that the poem Karl Marx exemplifies how poetry can be a medium for ideological resistance, linking historical materialism with lived experience.

Julia Kristeva’s concept of Intertextuality signifies the relations of texts through their references of ideas, wording and ideological resonances. This paper investigates the intertextual dimensions of Narayan Surve’s poem Karl Marx, presenting how it integrates ideological, historical, cultural, and literary elements within the idea of class struggle. Through Mikhail Bakhtin’s dialogism theory and Marxist literary criticism, the study highlights how the poet Surve builds dialogue between past and present, representing the Marxist ideas in contemporary labour movements. The localisation of Karl Marx through oral traditions and cultural references shows how intertextuality functions as a vehicle for ideological and political solidarity. The poet Narayan Surve’s depiction of Marx as an active presence breaks the linearity of historical texts, representing class consciousness through poetic expression. Additionally, the poem’s reference to Goethe further embroils the relationship between art and revolution, signifying the role of literature in designing proletarian agency. By analysing these intertextual strategies, this paper argues that the poem Karl Marx exemplifies how poetry can be a medium for ideological resistance, linking historical materialism with lived experience.

Julia Kristeva’s concept of Intertextuality signifies the relations of texts through their references of ideas, wording and ideological resonances. This paper investigates the intertextual dimensions of Narayan Surve’s poem Karl Marx, presenting how it integrates ideological, historical, cultural, and literary elements within the idea of class struggle. Through Mikhail Bakhtin’s dialogism theory and Marxist literary criticism, the study highlights how the poet Surve builds dialogue between past and present, representing the Marxist ideas in contemporary labour movements. The localisation of Karl Marx through oral traditions and cultural references shows how intertextuality functions as a vehicle for ideological and political solidarity. The poet Narayan Surve’s depiction of Marx as an active presence breaks the linearity of historical texts, representing class consciousness through poetic expression. Additionally, the poem’s reference to Goethe further embroils the relationship between art and revolution, signifying the role of literature in designing proletarian agency. By analysing these intertextual strategies, this paper argues that the poem Karl Marx exemplifies how poetry can be a medium for ideological resistance, linking historical materialism with lived experience.

Genre analysis of texts has always been significant. The current study aimed at investigating intertextuality considering cultural variations and differences in students' discourse communities. Social studies, philosophy, and biology were chosen as the representatives of social sciences, humanities and sciences. Tehran University, one of the most prominent and oldest universities in Iran, was chosen as the source of the theses. From each discipline, eight theses were chosen randomly and the organization of the introductions was analyzed according to Samraj's revised model of Swales (2008). Next, a comparative and contrastive analysis was performed between the results obtained from this study and the ones obtained from Samraj's (2008). The results indicated that social studies and biology introductions were quite similar and followed the traditional format of thesis writing whereas philosophy introductions were different as they had a more topic-based structure.

This paper addresses the television program "Cheers" and demonstrates one way of interpreting the complexity of messages within the program. The interplay of visual messages within the "Cheers" programming is referred to as intertextuality, or the relation of one text to another to express an idea. Two basic types of intertextuality--horizontal and vertical--serve as a framework for this analysis of "Cheers." Horizontal textuality refers to relations between primary texts "along the axis of genre and content." In "Cheers," genre intertextuality means examining how the show works as a situation comedy, and in particular how it differs from other situation comedies. Content intertextuality refers to the use of specific allusions to other texts. The second type of intertextuality is vertical, defined as the relation between a primary text and those texts which refer to and discuss the primary texts. In the case of "Cheers," this includes analyses in the popular press. These secondary texts work to promote the circulation of selected meanings of the primary text. The carefully crafted comedic statements in "Cheers" carry social and cultural overtones, presenting an intellectual challenge to the viewer who actively attends to the interplay. After a description of the characters, this paper includes a general and an episode analysis. It then shows how the titles of the shows have been gleaned from classic literature and places "Cheers" in the comedic perspective with other television comedies. (Contains 18 references.) (AEF)

Intertextuality is a term that is defined variously and, in a sense, cannot be defined categorically and should not be. The term serves as a point of departure for engaging in an academic discourse grounded in differing theoretical and institutional frames. In the wake of poststructuralism, the classical notion of a "definition," a bringing together of scattered particulars, no longer holds together. Though initially defined by Julia Kristeva as a process of constructing a text through selection and inclusion, "intertextuality" has been appropriated by scholars in composition. Using the term to support an expressivist approach, Nancy Kline encourages her students to engage with the "presence" in the text, which in turn is engaged with other presences. James Porter uses the term to counter romantic notions of the writer as an autonomous, creative agent, like E. G. White or Joan Didion. Paul Hunter uses the term to sidestep the problematics of "intersubjectivism," the interpersonal interaction that the discourse community theory assumes; he believes the intertextual matrix is much larger than that given discourse communities. Rather than attempting to measure these theories against some primary source to determine which one qualifies as a misreading, the scholar should, according to Richard Rorty's pragmatism, accept or reject them according to their usefulness. Rorty argues that "definitions" should not be forgotten but should be done without to the extent that it is possible. (TB)

Intertextuality is a term that is defined variously and, in a sense, cannot be defined categorically and should not be. The term serves as a point of departure for engaging in an academic discourse grounded in differing theoretical and institutional frames. In the wake of poststructuralism, the classical notion of a "definition," a bringing together of scattered particulars, no longer holds together. Though initially defined by Julia Kristeva as a process of constructing a text through selection and inclusion, "intertextuality" has been appropriated by scholars in composition. Using the term to support an expressivist approach, Nancy Kline encourages her students to engage with the "presence" in the text, which in turn is engaged with other presences. James Porter uses the term to counter romantic notions of the writer as an autonomous, creative agent, like E. G. White or Joan Didion. Paul Hunter uses the term to sidestep the problematics of "intersubjectivism," the interpersonal interaction that the discourse community theory assumes; he believes the intertextual matrix is much larger than that given discourse communities. Rather than attempting to measure these theories against some primary source to determine which one qualifies as a misreading, the scholar should, according to Richard Rorty's pragmatism, accept or reject them according to their usefulness. Rorty argues that "definitions" should not be forgotten but should be done without to the extent that it is possible. (TB)

studies in matthew

Buku ieu nganalisa nu isu kontroversial of the theory of intertext, nu categorical aparat, dianggap, ngahaja, struktural, jeung tipe séjén intertextuality. Ngagambarkeun kelas ngalaksanakeun nya téhnik, nu kategori nu kagolong pikeun rujukan nu, aplikasi, allusion, paraphrase, traveliana, parody jeung katara

Bibliography: p. 112

In this article, a model of intertextuality is introduced as an instructional approach for postsecondary developmental reading courses. This model involves a scaffolded, schema building approach to teaching college reading that aims to link core material (a text, a concept, or specific academic content) with supplementary texts that focus on specific topics associated with that core material. The purpose is to facilitate the building of a knowledge base on topics associated with the core material in order for students to engage on a deeper level with that core material. Two exemplar course designs are described: one at a community college and another in an alternative-admissions program in a university setting. Implications for practice and future research possibilities are included. (Contains 2 tables and 1 figure.)

Political cartoons are animated through visual analogies that imply a likeness between the event portrayed in the image and the issue on which the cartoonist is making comment. Although many kinds of analogies can be used, meanings arise as the viewer is able to recognize and interpret them. This becomes difficult, though, when a cartoon's analogy is drawn from contemporary or historical events, plays on literary allusions, or uses past cultural knowledge not readily available to a viewer. The resultant intertextuality assumes an ideal viewer and a narrow cultural memory that have consequences for who is included in, and excluded from, the ongoing editorial conversation. Issues flowing from this assumed memory are discussed in relation to social studies textbooks used in British Columbia.

This study examines the online writing practices of adolescent emergent bilinguals through the mediating lenses of dialogic interaction and intertextuality. Using a multimodal discourse analysis approach, the study traces how three students develop online academic texts through intertextual moves that traverse modal boundaries. The analysis reveals how cross-modal, dialogic interactions allow emergent bilingual students to pool linguistic resources, background knowledge, and writing expertise. Such collaborative interactions ultimately serve to support their academic writing. Findings suggest the importance of developing research methodologies and literacy pedagogies that bridge boundaries across social actors, spaces, modes, and languages.

This study examines the online writing practices of adolescent emergent bilinguals through the mediating lenses of dialogic interaction and intertextuality. Using a multimodal discourse analysis approach, the study traces how three students develop online academic texts through intertextual moves that traverse modal boundaries. The analysis reveals how cross-modal, dialogic interactions allow emergent bilingual students to pool linguistic resources, background knowledge, and writing expertise. Such collaborative interactions ultimately serve to support their academic writing. Findings suggest the importance of developing research methodologies and literacy pedagogies that bridge boundaries across social actors, spaces, modes, and languages.

This study examines how individuals detect and evaluate metaleptic references in the gospel traditions and whether the modality of presentation (reading or video performance) affects the interpretive process.

This study examines how individuals detect and evaluate metaleptic references in the gospel traditions and whether the modality of presentation (reading or video performance) affects the interpretive process.

This is such thing about dream works Animation book.

This is such thing about dream works Animation book.