The study examines if intertextuality, the awareness of links and the elaboration of those links, can be taught using a particular methodology. The subjects were two groups of Grade 11 students (n = 35) who read, annotated, discussed, and wrote reader-responses about multiple aesthetic texts, the primary intervention being the use of intertextual questions to guide student learning and response in relation to the texts used in the study. Pretest and posttest data was analyzed according to an analysis of variance with repeated measures. The study demonstrates that intertextual linking and elaboration are very difficult for students and that intertextual teaching, as presented by the study, may not be sufficient to overcome such difficulty. / May 2007

The study examines if intertextuality, the awareness of links and the elaboration of those links, can be taught using a particular methodology. The subjects were two groups of Grade 11 students (n = 35) who read, annotated, discussed, and wrote reader-responses about multiple aesthetic texts, the primary intervention being the use of intertextual questions to guide student learning and response in relation to the texts used in the study. Pretest and posttest data was analyzed according to an analysis of variance with repeated measures. The study demonstrates that intertextual linking and elaboration are very difficult for students and that intertextual teaching, as presented by the study, may not be sufficient to overcome such difficulty.

The study examines if intertextuality, the awareness of links and the elaboration of those links, can be taught using a particular methodology. The subjects were two groups of Grade 11 students (n = 35) who read, annotated, discussed, and wrote reader-responses about multiple aesthetic texts, the primary intervention being the use of intertextual questions to guide student learning and response in relation to the texts used in the study. Pretest and posttest data was analyzed according to an analysis of variance with repeated measures. The study demonstrates that intertextual linking and elaboration are very difficult for students and that intertextual teaching, as presented by the study, may not be sufficient to overcome such difficulty.

Orpheus' Argonautica is a little-known re-telling of Jason's iconic quest to the ends of the Earth in search of the mythical Golden Fleece. Despite the fact that the narrator adopts the voice of Orpheus, the quintessential poet and mystic of ancient Greece, our author's identity and chronology are unknown. This document will demonstrate that certain features of the poem's language are not "irregular," as has been asserted in recent centuries. It will also place our poem within the literary tradition of Orpheus, exploring this mythical figure from the sixth century BCE through the fourteenth century CE. We will show the author's fluency in the intertextual game of allusion, revealing a likely familiarity with Latin literature, as well. Finally there is included an annotated English translation of the poem which should be accessible to experts and laypersons alike. / text

It is the purpose of this thesis to examine the classical allusion in Donne's secular poetry to show that the body of such allusion is more extensive than is generally conceded. More important, this study will evaluate rather than merely catalogue the allusions in order to show ho Donne employs such allusion and in what way his poetic practice as to the employment of classical allusion is different from the practice of his contemporaries. It will be demonstrated that, with very few exceptions, Donne uses the standard myth or allusion as a foundation or departure point from which he then goes on to synthesize the myth and turn it into poetic material that is of special significance to his theme.

Writer, producer and director Wes Anderson’s unusual and idiosyncratic films take place in world which seems to be entirely his own. Often anachronistic and highly stylized, the Andersonian universe looks like little else being shown in contemporary cinemas. Yet, Anderson is also one of the most allusive filmmakers working today. Littered throughout his oeuvre are endless allusions to films, directors, authors and books which have had significant influence on Anderson as an artist. In fact, Anderson’s films can only be fully appreciated when viewed through the lens of his many sources, since his films emerge as he carefully collects, compiles and crafts his many influences into a sort of collage. In order to understand how this dichotomy operates in Anderson’s work I examine the influence of several key directors, authors, and films. Through this study I show that one of the things that make Anderson unique is the very way in which he interacts with the sources to which he is alluding. It is his uncommon ability to weave homage and critique together which makes him a truly allusive auteur.

Writer, producer and director Wes Anderson’s unusual and idiosyncratic films take place in world which seems to be entirely his own. Often anachronistic and highly stylized, the Andersonian universe looks like little else being shown in contemporary cinemas. Yet, Anderson is also one of the most allusive filmmakers working today. Littered throughout his oeuvre are endless allusions to films, directors, authors and books which have had significant influence on Anderson as an artist. In fact, Anderson’s films can only be fully appreciated when viewed through the lens of his many sources, since his films emerge as he carefully collects, compiles and crafts his many influences into a sort of collage. In order to understand how this dichotomy operates in Anderson’s work I examine the influence of several key directors, authors, and films. Through this study I show that one of the things that make Anderson unique is the very way in which he interacts with the sources to which he is alluding. It is his uncommon ability to weave homage and critique together which makes him a truly allusive auteur.

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L’histoire des genres et des idées littéraires, la sémiotique, la stylistique, la métrique et la littérature en général sont au cœur de notre recherche. Aussi, avons-nous appliqué les théories de l’intertextualité en étudiant les élégies de Tibulle et de Properce, afin de mettre en évidence les processus différenciés qui permettent de maintenir une continuité, et qui font la richesse du genre élégiaque érotique romain. Elles ont mis en évidence les principes d'intertexte et d'allusion, voire de métapoésie, autant que de genre et de généricité, en une hybridité d'écriture très conforme avec une esthétique augustéenne de l'hétérogène. Le résultat en est une réécriture, certes en reconnaissance acquise (fût-elle « allusive » et « réflexive »), mais riche d'auctorialité, pour de nouveaux pactes d'écriture et de lecture, laissant place à un « fait littéraire proprement latin », dans une perspective de recherche tout à la fois diachronique, littéraire, (intertextualité, genre et généricité) et idéologique. / The history of literary genders and ideas, the semiology, the style, the metric and the literature in general are in the very centre of our research, but the greatest interest of this work lies in making apparent the evidence of continuity according to the different processes that enrich the Latin love elegy genders. Furthermore, it is noted that the principals of intertext and allusion, and hence of the metapoetry, along with the genders and genericity, appear in a hybrid writing manner very appropriate with the Augustan aesthetics of heterogeneity. As a result it is shown that the Latin love elegy is a rewriting which is based on already acquired knowledge, rich in auctorial, for new pacts of writing and lecture, therefore leaving space for a “proper Latin literary fact”. The perspective of this research is diachronic, literary (intertextuality, gender, genericity) and, at the same time, ideological.

Gosse’s reputation, both during his lifetime and thereafter, was compromised by his propensity for error, a trait that Henry James famously described as ‘a genius for inaccuracy’. Though much of his biographical and critical writing justifies this criticism, my study of Gosse’s use of the device of allusion, mainly in his fictional writing, reveals a strategy of misprision that is creative and innovative. Since the concepts of Modernism and Postmodernism have changed the way in which texts are read, it is now time to re-read Gosse, and to explore the potential meaning of passages that would hitherto have been dismissed as error or exaggeration. Using Ziva Ben-Porat’s characterisation of allusion ‘as a device for the simultaneous activation of two texts’ as my methodology, I explore the complex and often subversive resonances of Gosse’s allusive practice. Allusion requires four participants: author, reader, the source text by the precursor, and the alluding text. Because a phrase does not ‘become’ an allusion until all four parties have been ‘activated’, many of Gosse’s allusions have for a long time lain dormant in the palimpsest of his writings. I argue that Gosse’s evangelical, tract-writing mother, rather than his father, exerted primary influence on him. I foreground the impact of her prohibition of fiction as the genesis for Gosse’s idiosyncratic vision, showing that its legacy was more bewildering, and ironically more creative, than has hitherto been recognised. Using the revisionary ratios of Bloom’s theory of the anxiety of influence, I establish a trajectory of charged interactions between the texts of Gosse as ephebe and those of his mother as precursor. Many hitherto puzzling and unresolved aspects of Gosse’s writing now make sense in the context of his ‘answering back’ the spectral Bowes. Although Gosse never fully extricates himself from his maternal precursor, he metaphorically orphans himself, and transfers his ephebe allegiance to a host of literary fosterfathers, constantly invoking them in his texts. He thus secures his ‘mental space’ through the covert mode of allusion, and the zenith of this practice is manifested in Father and Son. My thesis demonstrates the potential of allusion as a methodological tool in literary analysis. By his acts of re-reading, Gosse achieves the paradoxical act of simultaneously arresting and promoting a sense of cultural continuity. On the one hand, Gosse arrests tradition by fragmenting texts: by importing a phrase or a passage from a past work into his present text, he engenders textual instability in both. On the other hand, Gosse promotes cultural continuity by importing into his work fragments that serve as allusive bridges forging connections through space and time. I hope that this exploration of his practice will initiate a reassessment of Gosse’s role in relation to the allusive mode as employed by the early Modernists.