Julia Kristeva Intertextuality Pdf

Barthes divides the text into lexias, small segments which can be a word, a phrase, a piece of action, one sentence, or a small group of sentences. In his use of hypertextuality Genette particularly refers to forms of literature which are intentionally inter-textual. To say this is to suggest a shift of focus from Genette to the theorist who most seriously haunts his work, Michael Riffaterre. This can help us to answer our previous question concerning Hamlet, Wuthering Heights and Tess. This is a division which can only be achieved by the reader performing a kind of negative forgetting of the intertextual dimension.

Intertextuality (The New Critical Idiom)

Julia Kristeva And Literary Theory

Intertextuality is a literary discourse strategy utilised by writers in novels, poetry, theatre and even in non-written texts such as performances and digital media. The study mounts a coherent history of the term and demonstrates links between the various approaches as well as the differences between them. Allusion is most often used in conversation, dialogue or metaphor. Pick the bones clean no matter who it was.

After abjecting the mother, subjects retain an unconscious fascination with the semiotic, desiring to reunite with the mother, while at the same time fearing the loss of identity that accompanies it. Images concerned with dreams, mastery and the natural world also figure throughout the novel and might be said to help generate an internal meaning emanating from this sentence. Every text depends on a language within which is inscribed vast histories of meaning. According to Mitchell, this understanding of the hypotext Hamlet, gives deeper meaning to the pretext as many of the implicit themes from Rosencrantz and Guildenstern are more recognizable. At times, as Genette demonstrates, the autographic and allographic can slip into modes of ambiguity crucial for an interpretation of the text.

John Benjamins Publishing Co. They are what theorists now call intertextual. In this work, she is concerned with establishing the manner in which a text is constructed of already existent discourse. These questions also highlight the fact that in such a sentence we do not know precisely what kind of language is being used.

Start by pressing the button below! Obligatory intertextuality is when the writer deliberately invokes a comparison or association between two or more texts.

Julia Kristeva s concepts of intertextuality

In such work, Kristeva implies, ideas are not presented as finished, consumable products, but are presented in such a way as to encourage readers themselves to step into the production of meaning. Intertextuality has to do, for Kristeva, with desire and with the psychological drives of the split subject. There has, however, been another strand within theories of intertextuality which has taken a very different approach to the relationship between readers and the literary texts they read.

One of the most original thinkers of the twentieth century, Julia Kristeva has been driving forward the fields of literary and cultural studies since the s. Julia Kristeva and Feminist Thought. Engaged debate among feminist, political, can i read pdf file on kindle and psychoanalytic thinkers has secured Julia Kristeva's status as one of the most formidable figures in twentieth-century critical theory.

Literary Theory and Criticism

Julia Kristeva s concepts of intertextuality

The poem sets up a radical polysemy through its utilization of the spacing of words and through the employment of different typefaces. The reader of the Text may be compared to someone at a loose end. Traces the origin and development of the novel and analyzes how meaning is conveyed in fiction and art.


Graham Allen lectures on eighteenth-century literature, Romantic and Victorian literature, and literary theory at University College, Cork. Referring to what has been written, i.

This study is written from a conviction that intertextuality is and will remain a crucial element in the attempt to understand literature and culture in general. As a cultural and historical term, this is often associated with notions of pastiche, imitation and the mixing of already established styles and practices. In every hypertext there is an ambiguity that Riffaterre denies to intertextual reading.

Readerly texts thus reinforce cultural myths and ideologies which Barthes symbolizes through the term doxa. Includes bibliographical references and index. The distinctions between these types and those differences between categories are not absolute and exclusive but instead, are manipulated in a way that allows them to co-exist within the same text. An Essay on Abjection and her career-long preoccupation with James Joyce.

It is this addressivity of the word and utterance, as Bakhtin will later term it, which must be the central focus of the study of language. Though the meaning of utterances may be unique, they still derive from already established patterns of meaning recognizable by the addressee and adapted by the addresser. No word or utterance, from this perspective, is ever neutral.

She attempts to capture in this approach a vision of texts as always in a state of production, rather than being products to be quickly consumed. We learned that from them. Most people, it would be fair to say, believe that knowledge, if it exists, can be clearly communicated, and because of this it can be bought and sold in books, in educational courses and so on. Against such a naturalized image of the author Barthes pits the theory of the text. It is as viable to cite the Russian literary theorist M.

Literary Theory and Criticism

Julia Kristeva s concepts of intertextuality

But this approach neglected to give attention to the human subject who performs the utterance under consideration. Plurality, of self as well as of meaning, is seen as the source of liberation and joy.

Kristeva departs from Lacan in the idea that even after entering the symbolic, the subject continues to oscillate between the semiotic and the symbolic. Intertextuality is one of the most commonly used and misused terms in contemporary critical vocabulary. With a strong emphasis on clarity, lively debate and the widest possible breadth of examples, The New Critical Idiom is an indispensable approach to key topics in literary studies. From a generic point of view tragedies should concern characters from the highest rungs of society.

The literary work might not display its relation to the system, but the function of criticism is to do precisely that by rearranging the work back into its relation to the closed literary system. The fundamental tension Barthes is referring to concerns notions of stability and security. The modern inheritor of this unofficial, highly satirical and parodic, dialogical tradition of the carnivalesque is found, Bakhtin argues, in the novel. Both narrative and individual sentences are essentially readerly, in that they encourage an unreversible flow of reading. Texts, whether they be literary or non-literary, are viewed by modern theorists as lacking in any kind of independent meaning.

Intertextuality is the shaping of a text's meaning by another text. Grey birds obsess my heart, Mouth-ash, ash of eye.

In such a system, we might say, ideas are only valuable if they are consumable. But the reality shown in her files is trivial. Dialogism replaces these concepts by absorbing them within the concept of relation.

Part of a series of articles on. Early chapters situate her theory in a broader conversation with Roland Barthes, Sigmund Freud, Jacques Lacan and others around the issues of reading, textuality, and subjectivity.

Julia Kristeva s concepts of intertextuality

This volume examines this rich body of work and the ways in which its interdisciplinary style gives insight into problems in understanding religion. Philosophy of language Semiotics Literary criticism.