Intertextuality in Robert Kroetsch's Seed Catalogue Essay example

“Intertextuality is the interrelationship between texts, especially works of literature; the way that similar or related texts influence, reflect, or differ from each other.”

“Intertextual dialogue deepens and enriches the reading experience, bringing multiple layers of meaning to the

In order to evaluate texts using Intertextuality, it is important to define it as a form of critical literary analysis. Charles Bazerman of the University of California at Santa Barbara writes: “We create our texts out of the sea of former texts that surround us, the seas of language we live in. And we understand the texts of others within that same sea…the relation each text has to the texts surrounding it, we call intertextuality” (83). While there are several definitions of intertextuality, Bazerman’s covers the most ground. In this broad sense, intertextuality refers but is not limited to the following components of which written works are comprised: borrowed culture, borrowed genre and theme, and more specifically, borrowed text within

I have used just two examples of intertextuality with reference to names, but there are quite a few. From the example of William Wilson, we can see that by alluding to Poe's work, Auster used intertextuality to make reference to the doppelganger and also possibly to Poe's Detective Dupin stories. By heavily referencing his own name throughout the text Auster used intertextuality in a different way, by not referencing another work but referencing himself he added a completely different aspect to the story allowing for layering on many different

Theories generally propose explanations whose status is still hypothetical and subject to experimentation that can exist in any area of interest; nonetheless, as one narrows theories down to a single specific field, like that of Literature, definitions adjust with them. Literary theory relies on human response to literature, followed by forming opinions and examining the text. Primarily, literary theory allows criticism creation of principles by which a literary text can be examined, and a number of diverse perspectives on a literary text and its conception may form. Moreover, concentrated methods of reading

Using intertextuality has its benefits and its limitations, especially when it’s used multiple times in a film, play or text. A Street Car Named Marge used numerous amounts of intertextuality through out the film. The intertextuality included music, famous sayings/quotes, other sounds, and famous scenes, in using this they created a relationship

Intertextuality is the complex interrelationship between a text and other texts taken as basic to the creation or interpretation of the text. Ronald Barthes declares that no text is unique or original, and this comes clear in Leila Halay’s Once in a PromisedLand. The novel is full of intertextuality. Here we have some examples:

Intertextuality is a literary technique that weaves together and creates a relationship between two texts, enriching the reader of the primary text with a look into history, and the ability to further interpret what they are reading. According to the Oxford English Dictionary (OED Online) “intertext” is defined as “A text considered in the light of its relation to other texts;” (“intertext” def. 1), meaning that intertext is when a text is better understood by having knowledge of the text that it alludes to. In Mary Barton, Elizabeth Gaskell uses intertextuality to further demonstrate key concepts present in the text by alluding to works of other famous authors, well known biblical passages, and Mary Shelley’s Frankenstein. By doing this, she effectively shows how the relationship between the working class and the middle to upper class must be compassionate and understanding of their shared connection in order to be successful.

As the era of literature slowly declines, the expert critiques and praise for literature are lost. Previously, novels were bursting at the seams with metaphors, symbolism, and themes. In current times, “novels” are simply short stories that have been elaborated on with basic plot elements that attempt to make the story more interesting. Instead of having expert critical analysis written about them, they will, most likely, never see that, as recent novels have nothing to analyze. Even books are beginning to collect dust, hidden away and forgotten, attributing to the rise of companies such as Spark Notes. An author deserves to have his work praised, no matter how meager and the masses should have the right to embrace it or to reject it. As

elements of content, form and context, a work can be formally evaluated for the variety of

Books stacked on shelves like a game of Jenga, essays and poems scattered throughout the unfilled crevices. These are prosaic, mundane sights for a student. Some of those books will be forgotten, destined to acquire an impressive collection of dust on some nondescript mantlepiece; those are not the novels that matter, regardless of their place in history. The novels that truly matter are the stories that change one’s perception of the world around them. In the past twelve months I have had the pleasure, nay the honour, of reading so many of those metamorphic pieces of literature.

When people tell you that you can't do something, that doesn't mean they're right. If you want to do something, do it. Don't let someone tell you what you can or can't do. In Teresa Sendra Aganosts short story "The Seed" from Chicken Soup for the Kids Soul 2 a girl named Teresa wants to grow an orange tree, but, she lives in New York. Everyone says she can't but that doesn't mean she won't try. This short story teaches readers that you can do anything if you belive in yourself.

A novel is like an author’s canvas. They can paint whatever they desire much like an artist would paint a picture. The author uses different literary tools similar to an artist using different brushstrokes. These tools include writing devices such as plot, characterization, description, and dialogue. Similar to blending colors to create a different impact, an author may use multiple techniques to increase dimension in their book.

Literary text is something which has many layers of meaning and although, appearing on the surface as narrative, has a deliberate ambiguity to it and is never straightforward. Scholars call this multiple meaning of the literary language various terms such as 'plurisignaiton', 'polysemy', or poly- or multi-valency. The metaphors and similes and indirect layers of meaning point to the polysemy of the text. That polysemy is a part of literary language is recognized by Hayles who stated that "For someone steeped in literary analysis, it is a given that multiple signification is a plus rather than a minus, or to use metaphors more appropriate to literature, a story rather than a scandal" (How We Became Posthuman, 60). Literature, in other words, possesses various levels or depth and it is this that primarily separates it from instrumental language.

What exactly constitutes a text? What classifies a text as having canonical quality, what meaning can be derived from that text, and who exactly makes these types of decisions? Welcome to the world of literary criticism, where the approach to the text and the level of reader inclusion varies based upon the school a critic identifies with in his endeavor and/or the individual reader may happen to take most interest in the act of literary analysis. While the Socratic-like formalistic approach of Vladimir Propp, the lavish laymen 's poetic deconstruction of Roland Barthes, and the interpretative communal focus of Stanley Fish maintain both deviations and