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Introduction to Literature: Intertextuality
This semester, my students have been studying intertextuality in literature and applying it to the works they read. This wiki presents their final project for LIT 2100. Before taking a look at their projects, however, visitors might want to read this short introduction to intertextuality.
Jody Malcolm
University of West Florida
Julia Kristeva, a French writer and literary critic, coined the term intertextuality in the 1960’s. The use of this term has had many implications for the study and reading of literature:
Thus, developments in history, culture, science, politics—any discipline or institution that influences us—also influence the arts. For example, recent developments in technology have given rise to a genre known as “cyberlit”; I expect soon also to see a greater influx of novels based on cloning, genetics, and mind alteration because of the developments in science and medicine.
However, intertextuality takes into consideration that literature is not created in a vacuum, that its production is a function of the zeitgeist, or spirit of the times in which is was written. Let’s examine how the zeitgeist has influenced the war-film genre:
World War II films were more idealistic in their portrayal of war. Our stars were people like John Wayne and Gregory Peck who were always strong and right—just as was the perception of our country and its involvement in the war. Bloodshed and suffering were rarely shown—at least realistically.
Vietnam films were more realistic in their portrayal of war. Films such as Apocalypse Now, The Deerhunter, and Platoon explicitly illustrated the human costs of war and the ambiguity many felt about our participation.
The Transitional War Period—I don’t know what else to call it—again showed the horrors of war in films such as Saving Private Ryan and Once Were Soldiers, but tended to focus on the camaraderie of the troops instead of the isolation and alienation shown in Vietnam war era film.
The Gulf War Film—Three Kings, specifically—illustrates a more ironic hero, one who is out for personal gain rather than patriotic glory, but who also possesses a sense of justice while even working outside of the military system to which he belongs. I read recently that an Iraqi war film is already being planned, a move which is highly unusual since most war films are made after a conflict has ended. Why do you suppose that a movie such as this could be problematic?
This semester, my students have been studying intertextuality in literature and applying it to the works they read. This wiki presents their final project for LIT 2100. Before taking a look at their projects, however, visitors might want to read this short introduction to intertextuality.
Jody Malcolm
University of West Florida
Julia Kristeva, a French writer and literary critic, coined the term intertextuality in the 1960’s. The use of this term has had many implications for the study and reading of literature:
- It included the idea of heteroglossia, the idea that many voices, not just the author’s voice, contribute to the production of literature.
Thus, developments in history, culture, science, politics—any discipline or institution that influences us—also influence the arts. For example, recent developments in technology have given rise to a genre known as “cyberlit”; I expect soon also to see a greater influx of novels based on cloning, genetics, and mind alteration because of the developments in science and medicine.
- Included also in intertextual analysis are the author’s personal experiences. Before this time, literature was mainly thought of as a “work of art” within scholarly and academic circles and only its “formal aspects,” such as plot, characterization, etc., were considered valid elements for analysis.
However, intertextuality takes into consideration that literature is not created in a vacuum, that its production is a function of the zeitgeist, or spirit of the times in which is was written. Let’s examine how the zeitgeist has influenced the war-film genre:
World War II films were more idealistic in their portrayal of war. Our stars were people like John Wayne and Gregory Peck who were always strong and right—just as was the perception of our country and its involvement in the war. Bloodshed and suffering were rarely shown—at least realistically.
Vietnam films were more realistic in their portrayal of war. Films such as Apocalypse Now, The Deerhunter, and Platoon explicitly illustrated the human costs of war and the ambiguity many felt about our participation.
The Transitional War Period—I don’t know what else to call it—again showed the horrors of war in films such as Saving Private Ryan and Once Were Soldiers, but tended to focus on the camaraderie of the troops instead of the isolation and alienation shown in Vietnam war era film.
The Gulf War Film—Three Kings, specifically—illustrates a more ironic hero, one who is out for personal gain rather than patriotic glory, but who also possesses a sense of justice while even working outside of the military system to which he belongs. I read recently that an Iraqi war film is already being planned, a move which is highly unusual since most war films are made after a conflict has ended. Why do you suppose that a movie such as this could be problematic?
- Intertext also does not distinguish among forms of “text.” All forms of art and communications articulate text, thus advertising, the visual arts, film, music—even cartoons—are valid forms of analysis simply because they have an effect on the audience. Furthermore, these effects have a cumulative effect on the audience and the genres influence and are influenced by one another.
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JodyM |
Latest page update: made by JodyM
, May 6 2007, 3:42 PM EDT
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i cant get to the page were you can write you paper and all. someone help if you read this...PLEASE!!
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