With new technology come new possibilities for the creation of artistic works. The invention of sound recording at end of the nineteenth century enabled musical performances to be “written” in the same manner as traditional, printed literature. The status of records as a form of writing and, moreover, as the material for further writing is demonstrated in the work of two hip hop artists, DJ Shadow and Cut Chemist, who assemble new, heteroglossic texts out of a wide array of sampled records. Two concerts, Product Placement (2004) and The Hard Sell (2008) – both of which have been memorialized on DVD – serve as fruitful examples of the potential for artistic production enabled by technology. Indeed, the genre of turntablism, which involves the live manipulation of vinyl records, requires the usage of technology in ways not intended by its original developers – a recurrent theme throughout the history of sound recording. By transforming the turntable from a passive playback device into an active compositional tool, turntablism collapses the distance between consumption and production and so turns the listener into a performer. Furthermore, the exclusive usage of 45 rpm records as the source texts for the two sets dramatizes theories of intertextuality while simultaneously tracing the constraints placed on such artistic piracy by the copyright regime. These texts entail more than just their cited musical content; they also involve visual components. These include not only the video imagery that accompanies and comments on the records being played, but also the physical performance of the DJs themselves and the spectacle of the attending crowds whose response to the music constitutes part of the text itself. Following a theoretical and historical background that will situate these works within the history of hip hop and literature in general, this study will explicate these two multimedia texts and reveal how they demonstrate a concern not only with the history of sound recording, but also such issues as the influence of technology on cultural production, the complication of authorship through intertextuality, and the relationship between culture and commerce. Above all, however, both the form and content of these two performances also serve to highlight the value of physical media as historical artifacts in the face of increasing challenges from incorporeal digital media.

Drawing on the assumptions that old ideologies persist over a long period of time, impact on intercultural communication, and can be identified in texts, this study is a critical analysis of the content of an English as a Foreign Language (EFL) textbook, which was published between 1983 and 1988 in communist Romania. Specifically, the research questions of the present study are: 1) How do the EFL textbook‘s readings represent the relationship between Romanian and non-Romanian people?, and 2) What are the sociopolitical implications of these representations? Based on critical discourse analysis (CDA), as well as content analysis and literary theory, the method of analysis of this study builds on central concepts such as ideology and intertextuality, and delivers a multilayered framework of analysis that comprises the historical and ideological context of the texts, as well as the context of other texts. The findings show that the communist ideology was legitimated and transmitted in language textbooks, and, compared to the Romanians, non-Romanians were unequally represented.

Drawing on the assumptions that old ideologies persist over a long period of time, impact on intercultural communication, and can be identified in texts, this study is a critical analysis of the content of an English as a Foreign Language (EFL) textbook, which was published between 1983 and 1988 in communist Romania. Specifically, the research questions of the present study are: 1) How do the EFL textbook‘s readings represent the relationship between Romanian and non-Romanian people?, and 2) What are the sociopolitical implications of these representations? Based on critical discourse analysis (CDA), as well as content analysis and literary theory, the method of analysis of this study builds on central concepts such as ideology and intertextuality, and delivers a multilayered framework of analysis that comprises the historical and ideological context of the texts, as well as the context of other texts. The findings show that the communist ideology was legitimated and transmitted in language textbooks, and, compared to the Romanians, non-Romanians were unequally represented.

En este trabajo investigamos las funciones de la intertextualidad en la novela La Isla de la Pasión de Laura Restrepo. Concentrándonos en citas y alusiones que refieren a Don Quijote de Cervantes, Robinson Crusoe de Defoe y la Biblia, y tomando en cuenta el contexto en el que aparecen, analizamos las funciones que estas referencias intertextuales cumplen en el nivel del relato en la novela de Restrepo. Constatamos que la intertextualidad entre La Isla de la Pasión y Don Quijote aparece como una cita en forma de epígrafe mientras que las referencias intertextuales a Robinson Crusoe y la Biblia son alusiones. Vemos que la intertextualidad en la novela de Restrepo funciona como presagio, contribuye a crear ironía y describe los acontecimientos y los personajes, a veces en forma de símiles y metáforas. También concluimos que no hay ninguna relación entre el tipo de obra a la que se refieren las referencias intertextuales y la función que estas cumplen en la novela, aunque las alusiones bíblicas tienen una tendencia a ser símiles. / This essay is an investigation of the functions of the intertextuality in Laura Restrepo’s novel Isle of Passion. The quotations and allusions that refer to Cervantes’ Don Quixote, Defoe’s Robinson Crusoe and the Bible are examined and the context in which these intertextual references appear is taken into account when analyzing the functions they fulfil in the story of the novel. The conclusion reached is that a quotation in the form of an epigraph constitutes the intertextuality between Isle of Passion and Don Quixote and that the intertextual references to Robinson Crusoe and the Bible appear as allusions. Furthermore, the functions of the intertextuality in Isle of Passion are to provide foreshadowing, to create irony and to describe events and characters, sometimes in the shape of similes and metaphors. Finally, the essay states that in the novel the functions of the intertextual references do not vary according to the type of work that the intertextuality refers to, although the biblical allusions tend to be similes.

The thesis attempts to describe resistance in terms of history, space, and identity in Michael Ondaatje¡¦s The English Patient. The first chapter of the thesis sets out to elaborate the historical context of the novel, and its influence on the subaltern personas. The chapter aims to demonstrate how postcolonial literature rejects Western official history, providing an alternative voice for the subaltern subjects in the novel. In the second chapter I focus on the spatial politics of the novel, bringing geographical and bodily space into discussion by means of adopting the concepts of de- and re-territorialization. It designates how the broken geography and the wounded body characterize the marginalized characters and their dwelling space. Chapter Three is dedicated to the study of the personas¡¦ identity and their relationships, which are formed and developed under emotions of lack and desire. In this chapter I also discuss the intertextuality of the novel, exemplifying how the novel mirrors other literary works and art works, borrowing yet subverting the classics of Western civilization. In The English Patient, Ondaatje voices for the subaltern, adopting Western classics as the objects of revision. He maps the resistance of the subaltern on the ruins of the Western classics by rewriting the Empire¡¦s histories, space and subaltern identities. The mergence of alternative histories and spaces interweaves a fictional world that is divergent from the official Western world.

Murdoch&rsquo / s fiction has been influenced by dramatic elements, particularly comic elements. This influence has been revealed as parody. Murdoch parodies the comic character types of the eiron, alazon, buffoon and agroikos by exaggerating and mixing their functions and themes of love, separated lovers and metamorphosis in her novels, The Nice and the Good, The Black Prince, and The Sea, The Sea. In addition, she makes parodic uses of Shakespearean plays, As You Like It and Love&#039 / s Labour&#039 / s Lost, Hamlet, and The Tempest, in her novels in question. Her use of parody as a weapon against the genre of romantic comedy, its character types and main themes is the result of her philosophical view of drama and the dramatic. She argues that comedy and tragedy deal with appearance whereas drama and the dramatic ought to involve reality. In her novels in question, she shows that the dramatic is the conflict of selfish self with itself to reach self-knowledge. Murdochian self- knowledge is the knowledge of what lies beyond self. This kind of knowledge is achieved by unselfing, a process through which a solipsistic self recognizes its solipsism and challenges it by means of love and art.

Thesis (M.A.)--Université de Sherbrooke, 1999. / Includes bibliographical references.

This study addresses a gap in the second language writing research through examining processes occurring during the pre-writing and drafting stages of adult second language learners' writing when computer-mediated communication (CMC) pre-writing activities are involved. The theoretical framework adopted in the study is Writing-as-process approach with a focus being the pre-writing and drafting stages of the writing process. The design of the study is a parallel component mixed method design with an ongoing dominant qualitative stage and a nested less-dominant quantitative stage. In the qualitative stage of the project, two case studies were conducted: a group case study of the 60 intermediate level ESL learners who participated in the study and a more focused instrumental case study of eight learners selected based on their post-treatment writing gains. The research focus was on the social environment, including the learning task, peer interaction, mode of communication, and the intertextual connections between pre-writing discussions of the participants and their first drafts. The qualitative stage findings suggested that the CMC mode of communication (synchronous vs. asynchronous) affected differently the participants' patterns of interaction as well as the intertextual connections of their first drafts with the pre-writing discussions. In the quantitative stage, the researcher compared the first-draft writings of students who participated in asynchronous and synchronous pre-writing discussions (treatment) through the analysis of eight textual features of students' first drafts, namely: (1) syntactic complexity, (2) the amount of information present in a single focus, (3) the quantity of overall information present, (4) lexical information per clause, (5) vocabulary complexity, (6) rhetorical soundness, (7) presentation and development of main ideas, and (8) overall language use. The first five textual features, presented with continuous scores, were analyzed using five ANCOVA tests with significance level alpha being set at .05; the concomitant variables were the corresponding pre-treatment scores for each of the measures. Textual features 6-8, presented with ordinal scores, were analyzed through two-tailed Mann-Whitney U tests. While no differences were found for any of the eight proposed features when the writings of the participants in the asynchronous CMC and the synchronous CMC groups were compared, the consideration of the qualitative findings suggested that further analysis of an additional textual aspect of students' first drafts, more specifically - distinct lexical items, could be informative. The quantitative analysis of distinct lexical items of students' writings completed after synchronous and asynchronous pre-writing discussions was performed through the application of a two-tailed t-test. The results of this analysis led to the conclusion that at significance level alpha = .05, the CMC mode in which the pre-writing discussion was completed influenced differently students' first drafts on a lexical level: the intertextual connections between the pre-writing interactions and the first drafts of the participants from the asynchronous group at a lexical level were significantly stronger than those of their counterparts who participated in synchronous pre-writing discussions.

Ce mémoire porte sur l’identification et l’analyse de la pratique intertextuelle dans cinq œuvres contemporaines de l’Oulipo: Les Gens de Légende (Olivier Salon), La Décomposition (Anne F Garréta), Vanghel (Jacques Jouet) Trois Pontes (Jacques Jouet) et Eléctrico W (Hervé Le Tellier). En partant d’un réexamen des différentes théories de l’intertextualité, les lectures microtextuelles présentées ici cherchent à mettre en évidence la complexité et l’ambigüité du concept de filiation littéraire dans le processus d’écriture oulipien - que celui-ci soit interne (références aux travaux des membres du mouvement) ou externe (la littérature classique). Sont également examinées en détail les notions de contrainte et de plagiat par anticipation, mais aussi la volonté propre à l’Oulipo de mettre le lecteur dans une position particulière dans l’histoire littéraire. / The purpose of this study is to identify and analyze intertextual practices in five contemporary works by Oulipo writers: Les Gens de Légende (Olivier Salon), La Décomposition (Anne F Garréta), Vanghel (Jacques Jouet) Trois Pontes (Jacques Jouet) and Eléctrico W (Hervé Le Tellier). Following a review of the various theories of intertextuality available, the microtextual readings presented here seek to shed a new light on the complexity and ambiguity of the concept of literary filiation in the Oulipian writing process - either internal (references to works by members of the movement proper) or external (classical literature). Are also discussed in some detail the concepts of “contrainte” (constraint) and “plagiat par anticipation” (plagiarism by anticipation), but also the specific Oulipian aspiration to place the reader into a position that appears to be unique in literary history.

This thesis is a study of the formation and development of Ciaran Carson’s poetics from his debut in the 1970s up to and including his fourth principal collection of poems, First Language, published in 1993. Examining Carson’s recourse to different kinds of rewriting, made manifest as intertextuality and translation, it aims to account for the thematic formulation and formal realization of this poetics. The poetics is elicited from two distinct groups of poems. The first group comprises poems, given in the consecutive volumes The Lost Explorer (1978), The Irish for No (1987), Belfast Confetti (1989) and First Language, in which textile techniques serve metaphorically as poetic techniques. These poems are read as formulating a poetics which is formally realized in a second group of poems in which rewriting is the dominant technique. By examining the textile/textual metaphors, and their gradual reconfiguration, and the different manifestations of rewriting in Carson’s work the thesis seeks to describe and demonstrate some of the main principles and expressions of this poetics and its development over time. The thesis sees rewriting as integral to Carson’s poetic method: Earlier texts are deliberately drawn upon and made a constitutive part of a new poem. To account for the textual relations and their effect on meaning-making perspectives are borrowed from theories of intertextuality, especially intertextuality as conceptualized by Gérard Genette and Laurent Jenny, as well as from contemporary translation studies and poetics. A theoretical framework is also provided by the textile/textual metaphors which are employed as analytical tools. It is argued that rewriting is not an end in itself but an important means for the poet to articulate his views on both aesthetic and historical issues. The thesis relates the practice of rewriting to a prominent concern in Carson’s work: the relation between form and material and how to adequately express the complicated experiences associated with Northern Ireland in poetic form. The thesis contends through detailed analysis of Carson’s strategies of rewriting that his persistent recourse to recycling discloses his attentiveness to his own poetic expression and that his poetics should be seen as both an aesthetics and an ethics – an evolving response along both aesthetic and ethical lines to the complexities of his situation and his role as a poet. / Avhandlingen är en studie av den nordirländske poeten Ciaran Carsons poetik, dess framväxt och utveckling till och med Carsons fjärde diktsamling, First Language, som publicerades 1993. Genom en undersökning av Carsons användning av olika slag av omskrivning, manifesterade som intertextualitet och översättning, syftar avhandlingen till att ge en redogörelse för hur Carsons poetik har tematiskt formulerats och formellt realiserats. Carsons poetik friläggs genom ett närstudium av två grupper dikter. Den första gruppen består av dikter från samlingarna The Lost Explorer (1978), The Irish for No (1987), Belfast Confetti (1989) och First Language, där textila tekniker tjänar som metaforer för poetiska tekniker. Dessa dikter läses som formuleringar av en poetik som förverkligas i en andra grupp dikter där omskrivning är den huvudsakliga tekniken. Genom att undersöka dikternas textila/textuella metaforer och deras gradvisa omvandling samt olika manifestationer av omskrivning i Carsons verk, söker avhandlingen beskriva och demonstrera några av de huvudsakliga principerna i Carsons poetik, liksom de uttryck dessa tar sig, samt hur dessa principer och uttryck förändras över tid. Avhandlingen ser omskrivning som en väsentlig del av Carsons poetiska metod. Tidigare texter får tjäna som underlag för en ny dikt. När det gäller textuella relationer och deras betydelseskapande kraft stöder jag mig på teorier om intertextualitet, främst Gérard Genettes och Laurent Jennys, liksom på perspektiv hämtade från samtida översättningsteori och poetik. Teoretiska perspektiv ges också av de textila/textuella metaforer som används som analytiska redskap. Omskrivning är dock inte ett mål i sig för Carson, utan ett viktigt sätt för poeten att artikulera sin syn på både estetiska och historiska frågor. I avhandlingen relateras omskrivningens praktik till något som upptagit Carson i hela hans författarskap: förhållandet mellan form och material och hur de komplexa nordirländska erfarenheterna ska kunna ges ett adekvat poetiskt uttryck. Utifrån en detaljerad analys av Carsons omskrivningsstrategier hävdas att hans genomgående bruk av återanvändning återspeglar en höggradig medvetenhet om det egna poetiska uttrycket. Hans poetik ska ses som både en estetik och en etik – ett sätt att fortlöpande återknyta, längs både estetiska och etiska linjer, till den komplexa situation han befinner sig i och till hans roll som poet.