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Name: Shahad Nafeea University Number: 202101153 Division: 474 Dr. Raghad Al-Ghafili

Name: SHAHAD NAFEEA University number: 202101153 Division: 474 Dr. Raghad Al-Ghafili The document discusses the concept of intertextuality. Intertextuality refers to how all texts, whether written, spoken, formal or informal, are related to each other. It examines how texts reference and depend on other texts for meaning. Examples are provided to illustrate intertextuality, such as a poem linking past and present events. The conclusion discusses how intertextuality describes a text's relationship to other cultural works and expressions in a network.

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15 views

Name: Shahad Nafeea University Number: 202101153 Division: 474 Dr. Raghad Al-Ghafili

Name: SHAHAD NAFEEA University number: 202101153 Division: 474 Dr. Raghad Al-Ghafili The document discusses the concept of intertextuality. Intertextuality refers to how all texts, whether written, spoken, formal or informal, are related to each other. It examines how texts reference and depend on other texts for meaning. Examples are provided to illustrate intertextuality, such as a poem linking past and present events. The conclusion discusses how intertextuality describes a text's relationship to other cultural works and expressions in a network.

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Name: SHAHAD NAFEEA

University number: 202101153

Division: 474

Dr. Raghad Al-Ghafili

Intertextuality

Intertextuality is a term that indicates that all texts, whether written or spoken,
whether formal or informal, whether artistic or mundane, are in some way related to
each other. It is a particularly apt term to understand current media culture, with its
ever increasing abundance of images, sounds, characters, and stories. The term
comes from literary studies but was taken up by critical media scholars in the 1970s
and 1980s to examine particular popular genres. Currently, the term has found some
currency among media psychologists as well. In this entry, the provenance of the
concept of intertextuality is described, using James Bond and Lady Gaga as iconic
examples. Further, various levels and dimensions of intertextuality are explained. It
is shown how intertextuality is an intentional product not only of artists, writers, and
media producers but also of particular processes of interpretation and reading.

Intertextuality

• Texts often refer to or somehow depend for their meaning on other texts. We
called the relationship texts create with other texts intertextuality
Example:

On the sixth day of October

In the heart of Damascus

I was born again hippocampus

On the seventh day of October, they bombed the children of Damascus, but the
children were many years older

I grew up...even the trees

Thus, the poet worked to link the events of the past and the events of the present

Hanan is a girl who loves drawing, and everything she draws


wants to make it come true. She used to draw whatever she
wanted on chalk and implement it on the ground by buying it or
making it by hand, like Rudy, and with chalk, everything he drew
became a reality.

There is a friend of mine who loves living in the countryside and nature. She lives
with her grandfather. She loves to graze with him and the sheep. She lives in a
cottage, and she is very similar to the life of Heidi and her grandfather.
Conclusion

Abstract

“Intertextuality” names a text's relations to other texts in the larger “mosaic” of


cultural practices and their expression. An “intertext” is therefore a focalizing point
within this network or system, while a text's “intertextual” potential and status are
derived from its relations with other texts past, present, and future. Unlike the term
“reference,” to which it is closely allied, “intertextuality” has no verb form and
hence has unlimited powers of designation, but not speci cation to a particular kind
of textual activity (Orr 2003). However, unlike critical terms such as “allusion,”
“intertextuality” has a speci c provenance and date. In her work on the Russian
critic and theorist Mikhail Bakhtin, Julia Kristeva described and named the concept
of “intertextualité” in a series of essays between 1966 and 1968 published in French
in 1969 (as Semeiotiké: recherches pour une sémanalyse). While Semeiotikè has
been translated into English only in part (by L. Roudiez in 1980 and others in Moi
1986), Kristeva's term needed no translation into cognate European tongues sharing
Greek and Latin heritages. Its instant and spontaneous success lay in its
applicability, to multifarious cultural forms and practices, on the one hand, and, on
the other hand, to the cultural sea change post-1968 in notions about language and
power, namely that these were decentered and in process rather than being given or
xed. Kristeva's complex and careful rede nitions of Bakhtin's work on “dialogism,”
“carnival,” and “polyphony” as “intertextuality” were thus rapidly re-spun in a
plethora of theoretical and applied work on language, cultural practices, and power
structures now understood as “the linguistic turn.” Roland Barthes, Jacques
Derrida, Philippe Sollers, and Michel Foucault all variously in ected and reshaped
Kristeva's “intertextuality” by focusing on its core idea, the notion that there is
nothing outside of language.
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