This dissertation investigates the use of biblical interpretation in the Book of Daniel. It demonstrates the spectrum in which Daniel uses older scriptural texts such as Genesis and Ezekiel in order to accomplish the theological concord with the earlier scriptural traditions of ancient Israel. Methodologically, the dissertation embraces the theory of literary allusion. The allusions in Daniel to Genesis 10-11 characterize Daniel as a literature of resistance to human imperialism. The motif of universal language, absolute dominion, symbolic construction for imperialism, collective power of human politics, and divine triumph over Babel, resurface to highlight the strong consonance between Genesis and Daniel. The allusions in Daniel to Ezekiel demonstrate that Ezekiel 1-3 is the greatest source of apocalyptic texts in Daniel 7 and 10-12. The anthropomorphic manifestation of God in Daniel’s apocalyptic vision harks back to that in Ezekiel’s prophetic vision. Both magnificent characters in Daniel 7 (the one like a son of man) and 10 (the heavenly revealer) are portrayed as liminal figures. The son of man figure alludes to the Glory of YHWH (Ezekiel 1), Israel (Daniel 7), the maskilim (Daniel 11-12), and Ezekiel (Ezekiel 1-3). The heavenly figure in Daniel 10 alludes to Ezekiel 1, evoking the Glory of YHWH (Ezekiel 1), the maskilim (Daniel 11-12), and the four cherubim (Ezekiel 1). The links between the maskilim and Prophet Ezekiel show how Daniel 10-12 reshapes Ezekiel 1-3 to portray the critical period under Antiochus IV Epiphanes.

The poetry of Tang, and the chis of Song are both the greatest literary styles in Chinese literature. Chis was widespread in Tang Dynasty, Five Dynasty and Ten-Kindom preiod, and Song Dynasty. During these periods, the names of chis had been changed and the amount had enlarged as well. Some of chis were used quite often and became the top ten songs. However; some of them only used few times, then disappeared. From those chis, the rise and fall of the dynasties, the news of societies and their cultural orientation were revealed. The relationship of the tune and the content of chis was the source of the authors¡¦ inspiration. Therefore, the relationship of the tune and the content of chis is important. To be the researcher of chis, it is necessary to realize the origin of chis and make a thorough understanding of them. So as to the study of chis. In the dissertation, the researcher started from quantitative and qualitative methods, as well as counted the number of tunes, sorted by ¡§the rules of chis¡¨ of¸U¾ð (Qing Dynasty) and 838 tunes of chis. It was concluded that the authors of chis in Tang Dynasty, Five-Dynasty and Ten-Kindom period and Song Dynasty often used traditional culture and folk tales as metaphor and construct the principles of chis. This dessertation was divided into six parts. Except of introduction and conclusion, there are four chapters which contain one dynasty respectively. Tang Dynasty, Five-Dynasty and Ten-Kindom preiod, and Song Dynasty, were three important periods when chis emerged, expand and mature. The development of chis was discussed in chapter two, three, and four, respectively. By studying initial chis of the authors in these three periods, the relationship of the tune and the content of chis was concluded in chapter five, which is the major point of this dessertation. Hopefully, the relationship among the different authors, various places, and dynasties could be revealed. Therefore, to study ¡§ how did the people at that time handle the tune of chis?¡¨ is very important. The authors of the tonal pattern and rhyme scheme was the tune of chis, which was formed in the court music of Sui Dynasty. In Five-Dynasty and Ten-Kindom preiod, court music, foreign music and folk music combined into chis. This new literature style described the happiness or sadness of the people at that time and sutisfied their emotional needs. The conclusions of this dessertation 1.The relationship of the tune and the content of chis is determined. 2.The tune of chis is related to its content when it initialed. However, the tune and its content were enlarged and changed in Song Dynasty. 3.The sentences in chis were similar to those in poetry. The intertextuality might deserve to be discussed in further study.

Kuso videos as an emergent Internet genre have gained its popularity among a great number of online participants, especially via the most popular video-sharing website, Youtube. The present study explores the meaning-making mechanism that operates in the production of kuso videos, which are worthy of note inasmuch as they have been more and more widely used in response to issues arising in Taiwanese society. Different from previous research on monomodal representation of kuso (e.g. written, graphic kuso), the present research takes the previous studies as a point of departure and will analyze a multimodal and multimedial kuso video uploaded onto Youtube. The analysis will center around its performance, power, and meaning potentials and seek to answer the following research questions. (1) From a multimodal social-semiotic perspective, how are the meaning potentials of kuso videos being performed in the process of meaning-making? (2) In multimodal kuso videos, what accounts as a mode and what are the affordances of a specific mode? Or, is it necessary to define mode as a separate unit which creates meaning potentials in the whole multimodal production? (3) In social-semiotic production of kuso videos, who is in control in the process of meaning-making? In other words, in the meaning-making process, how is the identity of kuso video being contextualized and being negotiated with other participants? (4) How are decontextualization, recontextualization, and identity contextualization interconnected to each other in the production and the distribution of kuso videos? To analyze the meaning-making process and meaning potentials of the target kuso video, multisemiotic models (Halliday, 1978; Lim, 2002) as well as Bakhtin¡¦s (1981; 1986) genre theory are applied as the basis of the analytical framework while ¡§projective act of identity¡¨ (Coupland, 2007) is used to account for the how identity is contextualized in the video. In addition, the present research proposes the Functional Multisemiotic Model to illustrate with examples how layers of remix operate in the processes of decontextualization, recontextualization, and identity contextualization and to elucidate what semiotic functions they serve at three levels (i.e. ideational, textual, and interpersonal levels). On the whole, this research may shed light on the intricate meaning-making process in multimodal kuso analysis.

During the creation or invention of literary canon some texts are excluded with respect to the aims of the historians. This thesis analyses the process of exclusion in a historical context and tries to show how those texts are related to literary canon or socalled traditional-classical literature by means of intertextuality. It focuses on the burlesque pieces of literature of the 18th century and how they are composed with regard to the genres and forms they are transforming.

This study aims to analyze the use of parody in Jeanette Winterson&rsquo / s Oranges Are Not the Only Fruit and Boating for Beginners. Winterson uses parody as a means to re-contextualise and re-interpret the Biblical material in a playful manner in these two novels. Moreover, parody becomes a means for her to revise certain other texts and discourses. Due to these parodic references to other texts and discourses, the novels have an intertextual structure and they are open to a variety of interpretations instead of releasing a single meaning.

Στην παρούσα εργασία μελετάται σε ποιο βαθμό συγκλίνουν και που διαφοροποιούνται από την λογοτεχνική παράδοση συγκεκριμένα σύγχρονα θεατρικά έργα που αφορούν στο Μύθο του Οιδίποδα.Ποια θέματα απασχολούν τους νέους συγγραφείς και με ποια μορφή τα διατυπώνουν;Ποιες είναι οι νέες τάσεις στη θεατρική γραφή; / In this study , we examine specific modern theatrical plays about the Myth Of Oedipus and how they converge and differ from the literary tradition.What are the new trends in theatrical writing?

Bound to violence (1968) is the first novel written by the Malian author Yambo Ouologuem. Winner of the Renaudot Award (November 1968), the novel was pulled from bookstore shelves by the French editor in the early 1970’s, following the accusations of plagiarism, which never went to trial. When the French text is reprinted in 2003, it is presented as an attempt to rehabilitate its reputation to the francophone public. Our study analyzes the intertextual practices, of which plagiarism is a major constituent, that are the foundation of the innovative narrative process of Bound to violence. The author appropriates the texts of the occidental novel as well as of the Bible, which various theories of intertextuality allow to identify. Similarly, the paratext of Bound to violence, which categorizes it as a novel, permits the blending of different discourses of that period in a mixture of narratives and genres. The novel presents “fixed” discourses such as the story of Hamitic Myth, ideological discourses about blackness and colonialism but also discourse about society, particularly History. The intertextual and hypertextual practices allow a fusion of narratives and genres which defines the novel’s originality. This study goes beyond a simple listing of the literary texts which are part of Bound to violence and examines the elaboration of an intertextual link between Bound to violence and other literary texts, as well as their function in the newly created novel. / Thesis (Master, French) -- Queen's University, 2009-10-06 17:23:10.38

This thesis presents our study of Jacques Ferron's work on quotation. Jacques Ferron's goal was to let "history live as a novel". This analysis is based on three little stories (historiettes): "De Loudun a Ville-Marie", "Saint Tartuffe" and "La prise Parmanda". / We have divided the work into two complementary objectives. Firstly, to find the sources Ferron quoted in order to put them against the three little stories he has written. The reader can therefore observe the different types of modifications the writer has operated in his sources. / The second objective of our research is a detailed analysis of the most important "deviation" cases: the counterfeiting and the copying; two procedures that permit Ferron to erase the first occurrence of a quotation. / Our goal is not to accuse Ferron of plagiarism which is of no interest due to the fact that we are not analysing the writings of a historian, but those of a writer. We do however, want to emphasize the importance of "intertextuality" in Ferron's inspiration and composition of three little stories.

Darbe nagrinėjama intertekstualumo ir intertekstualios kūrybos samprata, teksto ir vaizdo ryšys, intertekstualumas fotografijoje. Darbo tikslas – išanalizuoti intertekstualumą fotografijos kontekste. Šio tikslo siekiama apibrėžiant intertekstualumo ir intervizualumo sąvokas, aptariant skirtingas intertekstualumo aiškinimo teorijas (Julia Kristeva, Roland Barthes), analizuojant fotografų Elena Kalis, Vladimir Clavijo-Telepnev, Dennis Ziliotto, Wojciech Prazmowski, Alvydo Lukio, Kitason Katue kūrybą ir pagrindžiant, kad intertekstualumo sąvoka tinkama vartoti kalbant apie visas meno rūšis ir aptariant konkrečius intertekstualios fotografijos atvejus. Kalbant apie fotografijos intertekstualumą galima išskirti du atvejus: fotografijos reiškinio intertekstualumą ir fotografinių vaizdų esančių nuotraukose intertekstualumą. / This study analyzes the concept of ntertextuality and intertextual creation, the relation between text and video, intetextuality in photography. The aim of this work is to analyze intertextuality in the context of photography. The purpose is being attained by describing definitions of intertextuality and intervisuality, discussing different theories of intertextuality (Julia Kristeva, Roland Barthes), referring to creations of photographers like Elena Kalis, Vladimir Clavijo- Telepnev, Dennis Ziliotto, Wojciech Prazmowski, Alvydas Lukys, Kitason Katue and justifying the term of intertextuality is proper to use talking about all the types of art. In terms of intertextuality of photography can separate two cases: the intertextuality of photography phenomena and the intertextuality of the photographic images. The analyze of specific works showed that essence of photography is intertextual.

This project examines the ways in which allusion and quotation may be used by playwrights in the composition of play scripts, principally through the writing of two full length stage plays, String and The Talent, accompanied by a supporting exegesis. This exegesis examines how quotation and allusion are used in these works to support particular meanings intended by the author. The project also looks at theories that consider the ways allusion functions, particularly focusing on the debate in the field between the advocates of the theories of influence and intertextuality. It does not attempt to provide an historical overview nor an exhaustive investigation of the development of the major theories and their advocates, but rather to consider more summarily - in outline rather than in detail - the manner in which these ideas have set out to explain how allusion functions in texts. This project suggests its own theory on the way (particularly literary) allusion works. Transtextuality, although itself only a partial and incomplete means of explaining the allusive transaction, refers to the movement of language between texts. Allusion offers a mechanism by which authors of a new text may underscore intended meaning by reference to established texts based on the assumption that the meaning of the quoted text is already understood (or can easily be accessed), and that therefore that meaning is transferable to the new text and can be absorbed into the different context into which it has been placed. The purpose of this study is in part to examine the way allusion works as a practice of intertextuality, transtextuality and the influence of one or more texts upon another. It concludes that allusion to and quotation from one text by another operate as acts of authorship, literary devices employed by the writer as mechanisms for the attempted communication of intended meaning. In doing so, it is hoped that the project may articulate ways in which allusion and quotation can be used by playwrights in the composition of their dramaturgy.