scholarly journals Intertekstualność. Wersja pop

2021 ◽  
Vol 26 ◽  
pp. 17-29
Author(s):  
Mariusz Kraska

The concept of intertextuality used in the field of literary theory for the first time by Julia Kristeva seems to be (nowadays) a well-recognised category, though understood in different ways. Numerous interpretations of contemporary cultural phenomena testify to its attractiveness. However, the author of the article argues that in relation to popular literature and culture, a more theoretical approach to the place and status of this category is lacking. He argues that in this context intertextuality should be understood simultaneously as a strategy for producing texts and a specific model of reading. In this sense, it is an indication of formation based on the pleasure principle of a community of cultural representations, experiences and interpretations. However, this heterogeneous universe demonstrates that popular culture is agonist by nature, where the issue of emotional participation and recognition plays a key function.

1996 ◽  
Vol 78 (2) ◽  
pp. 407-418
Author(s):  
D. D. Flemmer ◽  
Steven Sobelman ◽  
Michele L. Flemmer ◽  
Jan Åström

A survey of 209 licensed psychotherapists was conducted to investigate attitudes towards and observations of nonverbal communication in a reference situation. Background factors such as gender, years of psychotherapeutic experience, hours of therapy practiced each month, and theoretical approach were used to examine relationships. The psychotherapeutic greeting situation, i.e., the first time a therapist and patient meet in a waiting room, was chosen as the reference situation. Female psychotherapists believed that nonverbal communication was more important than male psychotherapists. Psychotherapists with 16 years or more experience supported items that constitute the greeting phase and items on active observation significantly more often than psychotherapists with less experience. Hours of psychotherapeutic practice and frames of reference were not significantly related to any item within the questionnaire. Belief in nonverbal communication was not significantly related to items that involve preparing to meet a patient for the first time.


Author(s):  
Bettina Bildhauer

This chapter argues for the first time that Quentin Tarantino based his film Inglourious Basterds in part on the medieval tale of the Nibelungs, as mediated chiefly through Fritz Lang’s Nibelungen. Inglourious Basterds can therefore be fruitfully read as an instance of medievalism, perpetuating as well as re-evaluating the widespread association of the Middle Ages with violence. An awareness of this intertext allows a nuanced interpretation of Inglourious Basterds’ stance on the power as well as manipulability of visual signs, always seen in the context of their materiality. Tarantino’s adaptation also allows fresh perspectives on the medieval Song of the Nibelungs, especially on its depiction of violent revenge. These in turn throw into relief Tarantino’s interpellation of the viewer through violence and other techniques to prevent the passive spectator position that popular culture is often accused of demanding. The film succeeds in subtly altering the conventions of cinematic representations of premodernity, and in re-appropriating a tainted national origin myth for an international audience.


Author(s):  
Terrence T. Tucker

This chapter establishes the definition of comic rage and traces the history of humor and militancy in African American literature and history. It distinguishes between comic rage and satire, culminating in an examination of George Schuyler’s Black No More. It details how comic rage acts as an abjection (from Julia Kristeva) that breaks down simplistic ideas about race and representations that appear in literature and popular culture. While identifying Richard Pryor as the most recognizable employer of comic rage, this chapter also points to figures like Sutton Griggs, Ishmael Reed, and Malcolm X; who embody the multiple combinations of anger and comedy that appear in the chapters of the book. It outlines the contents of the chapters that trace the development of comic rage in relation to the various political and literary moments in American and African American life.


2011 ◽  
Vol 67 (3) ◽  
Author(s):  
S. Philip Nolte ◽  
Pierre J. Jordaan

This article utilised the theory of intertextuality to investigate the way in which religious texts, specifically Judith 16, generate meaning in the act of the production of texts. The groundbreaking work on intertextuality done by Julia Kristeva served as the theoretical point of departure. Kristeva utilised Mikhail Bakhtin’s literary theory to develop her own views on intertextuality. According to the theory of intertextuality, all texts are intersections of different texts and are therefore polyvalent. The article argued that the ideology (or ideologies) of author(s) of texts underpin the ways in which other texts are used and alluded to. The purpose of the investigation was to illustrate how intertextual allusions in Judith 16 are used to describe ‘God/the Lord’ as a God of war and, thereby, to maintain an already existing ideology of war:We know now that a text is not a line of words releasing a single ‘theological’ meaning (the ‘message’ of the Author-God) but a multi-dimensional space in which a variety of writings, none of them original, blend and clash. The text is a tissue of quotations drawn from the innumerable centres of culture. (Barthes, cited in Beal 1992:27)


Author(s):  
Lynn Schofield Clark ◽  
Seth M. Walker

“Popular culture” is a term that usually refers to those commercially produced items specifically associated with leisure, media, and lifestyle choices. To study religion in popular culture, then, is to explore religion’s appearance in the commercially produced artifacts and texts of a culture. The study of popular culture has been a catalyst of sorts in the context of studying religion. Some have speculated that with the increasing presence of religion in commercially produced products and specifically in the entertainment media, religion may be reduced to entertainment. Others, however, have argued that religion has always been expressed and experienced through contemporary forms of culture, and thus its manifestation in popular culture can be interpreted as a sign of the vitality rather than the demise or superficiality of contemporary religions. Popular culture is worthy of study given its role in cultural reproduction. The study of popular culture and religion encourages scholars to consider the extent to which popular cultural representations limit broader critical considerations of religion by depicting and reinforcing taken-for-granted assumptions of what religion is, who practices it and where, and how it endures as a powerful societal institution. Alternately, popular culture has been explored as a site for public imaginings of how religious practices and identities might be different and more inclusive than they have been in the past, pointing toward the artistic and playful ways in which popular religious expression can comment upon dominant religion, dominant culture, and the power relations between them. With the rise of an ubiquitous media culture in which people are increasingly creators and distributors as well as consumers and modifiers of popular culture, the term has come to encompass a wide variety of products and artifacts, including those both commercially produced and generated outside of traditional commercial and religious contexts. Studies might include explorations of religion in such popular television programs as Orange Is the New Black or in novels such as The Secret Life of Bees, but might also include considerations of how religion and popular culture intersect in practices of Buddhism in the virtual gaming site Second Life, in the critical expressions of Chicana art, in the commercial experiments of Islamic punk rock groups, and in hashtag justice movements. The study of religion and popular culture can be divided into two major strands, both of which are rooted in what is known as the “culture and civilization tradition.” The first strand focuses on popular culture, myth, and cultural cohesion or continuity, while the second explores popular culture in relation to religion, power, and cultural tensions.


2016 ◽  
Vol 20 (3) ◽  
pp. 253-269 ◽  
Author(s):  
Natalia Samutina

This article focuses on fan fiction as a literary experience and especially on fan fiction readers’ receptive strategies. Methodologically, its approach is at the intersection of literary theory, theory of popular culture, and qualitative research into practices of communication within online communities. It characterizes fan fiction as a type of contemporary reading and writing. Taking as an example the Russian Harry Potter fan fiction community, the article poses a set of questions about the meanings and contexts of immersive reading and affective reading. The emotional reading of fan fiction communities is put into historical and theoretical context, with reference to researchers who analysed and criticized the dichotomy of rational and affective reading, or ‘enchantment’, in literary culture as one of the symptoms of modernity. The metaphor of ‘emotional landscapes of reading’ is used to theorize the reading strategies of fan fiction readers, and discussed through parallels with phenomenological theories of landscape. Among the ‘assemblage points of reading’ of fan fiction, specific elements are described, such as ‘selective reading’, ‘kink reading’, ‘first encounter with fan fiction texts’ and ‘unpredictability’.


Author(s):  
Simone de Beauvoir ◽  
Sylvie Le Bon de Beauvoir

This book brings to English-language readers literary writings—several previously unknown—by the author. Culled from sources including various American university collections, the works span decades of the author’s career. Ranging from dramatic works and literary theory to radio broadcasts, they collectively reveal fresh insights into the author’s writing process, personal life, and the honing of her philosophy. Highlights of the volume include a new translation of the 1945 play The Useless Mouths, the unpublished 1965 short novel “Misunderstanding in Moscow,” the fragmentary “Notes for a Novel,” and an eagerly awaited translation of the author’s contribution to a 1965 debate among Jean-Paul Sartre and other French writers and intellectuals, “What Can Literature Do?” ALso available in English for the first time are prefaces to well-known works such as Bluebeard and Other Fairy Tales, La Bâtarde, and James Joyce in Paris: His Final Years, alongside essays and other short articles. A landmark contribution to Beauvoir studies and French literary studies, the volume includes informative and engaging introductory essays by prominent and rising scholars.


Signs ◽  
1995 ◽  
Vol 20 (2) ◽  
pp. 397-413 ◽  
Author(s):  
Ellen Ross

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