Intertextuality

of power of nature and power of words. This essay will show readers the similarities and the different on how both composers use their different techniques to betray each of the themes. At the beginning of the Queen Stephen Frears includes intertextuality a quote from Shakespeare. The quote appeared on an all black screen and was from Henry the 4th part 2. The quote was: Uneasy lies the head that wears the crown The black screen allowed the quote to be the main focus and salience of the…

Elizabeth Barrett-Browning’s collection of poems ‘Sonnets from the Portuguese’ from the Victorian era, and F. Scott Fitzgerald’s 1920s modernist novel ‘The Great Gatsby’, composers espouse the values and ideas of their time to explore notions of intertextuality within their social and personal concerns. Both texts expose the innate connection between hope and religion - the acceptance or rejection of religion alters a text’s historical and social context. B.Browning’s works are influenced the…

“If you want a vision of the future, imagine a boot stamping on a human face – forever”. George Orwell’s Nineteen-Eighty-Four (1984) may appear to be merely a classic work of dystopian fiction, but as we delve deeper into the purpose and presentation of the text, we begin to appreciate the clear didacticism adopted by the author. 1984 goes beyond simplistic ideas to give a presentation of the future that is dominated by cynical fatalism. Orwell’s entirely pessimistic approach to human potential…

modernists believed that modern life lacked certainty; the modernists generally suggested rather than asserted meaning in their works. The theme of a typical Modernist work is implied, not stated, forcing readers to draw their own conclusions. While Intertextuality was the popular technique used by the postmodernism. They believed in the concept of the universe in which individual works are not isolated creations. The relationship between one text and another or one text within the interwoven…

Babaiyan (2010) employs the concept of intertextuality. The author traces the influence of classical Persian poets such as Khayam, Nezami and Sa’adi on Nima and the influence of him on contemporary poets such as Shahriar, Akhavan and Ebtehaj. Mizban and Saffarzadeh (2010) compare Nima and Nazik Al-Malaika. Her “Cholera” (1947) is known as a revolution in the Arabic poetry. Both poets’ innovation changes the poetry of their nation. But they don’t entirely reject the poetic tradition of their…

prince on a quest to save the princess from evil, winning her love in the process before the two ride off into a “happily-ever-after.” The Woman Who Loved the Moon definitely shares similarities to this type of story which can be uncovered through intertextuality. Like in fairy tales, The Woman Who Loved the Moon depicts the development of their relationship. While it does have its own “happily-ever-after”, but this is the cave beneath the ocean which Sedi takes Kai to, as “time is different…

Throughout Heart of Darkness, there are several references to blindness, darkness, and light. When literal blindness, darkness, light, and sight are introduced in a literary work, figurative seeing and blindness are often involved, as in this novel. Captain Charles Marlow sets “into the depths of darkness” in order to quench his thirst for knowledge about an unnamed river in central Africa (18). However, Captain Marlow loses this flavor of childhood innocence as he witnesses the death of his…

Fyall, Now My Eyes Have Seen You: Images of Creation and Evil in the Book of Job NSBT 12 (Downers Grove: InterVarsity Press, 2002), 19-20, 71; Yohan Pyeon, You Have Not Spoken What Is Right About Me: Intertextuality and the Book of Job (SLB 45; New York: Peter Lang, 2003), 54-56; Steven Chase, Job. Belief: A Theological Commentary on the Bible (Louisville, KY: Westminster John Knox, 2013), 5; and C.L. Seow, Job 1-21: Interpretation and Commentary (Grand Rapids:…

Tykwer’s experimental subversion of literary conventions through three alternate timelines, pastiche of media and intertextuality, results in a decentred plot and Lola’s demotion of status from character to subject. This anti-humanist detachment is effectively conveyed by voiceover at the beginning of the film over a crowd of people milling around: “Who are we? … How do…

| | | | | | | | | |In your analysis of the gangster genre you should also consider the following: | | | | | |ρ | | | |Codes and Conventions…