The paper focuses on the collision of high and popular culture in Robert Coover’s collection of short stories “Pricksongs and Descants”. The methods chosen for the study are close reading and textual analysis by interpreting every short story, defining its genre, noticing the features of high and popular culture and ways of presenting them, grasping the hot point where high and popular cultures collide, analyzing the aim and message of the collision. The paper emphasizes the blend of high-popular culture collision and discloses it with the help of postmodernism, high and popular culture instances, intertextuality, metafiction and genres transformation techniques through the themes of sexuality, violence and television. The research has revealed the message of the author hidden in the collision of high and low culture to satirize the image of 1960s America society and help the readers better understand the present reality. / Šio darbo tikslas yra atskleisti aukštosios ir populiariosios kultūrų sankirtą amerikiečių rašytojo Roberto Coover’io apsakymų rinkinyje ,,Raudos ir dainos” (1969) remiantis postmodernizmo literatūros ypatumais: naujų formų ieškojimu, ,,žaidimu” su jomis, populiariosios kultūros pabrėžimu, aukštosios ir žemosios kultūrų suliejimu, ironija, juoduoju jumoru, absurdo fantazija. Aptariami pagrindiniai postmodernistinės visuomenės bruožai – žmonių susvetimėjimas, įsiliejimas į masės visuomenę, vertybių praradimas, grožio kultas ir seksualumo garbinimas, dieviškųjų absoliutų atmetimas, smurto ir nepagarbaus elgesio protrūkiai, keiksmažodžiais užteršta žmonių kalba. Šie bruožai analizuojami apsakymų rinkinyje “Raudos ir dainos”, nes jų pagalba ir yra atskleidžiama anksčiau minėtųjų kultūrų sankirta. Prie šios sankirtos atskleidimo prisideda ir intertekstualumo, metafikcijos ir žanrų (pasakų, religinių istorijų, įprastų, gerai žinomų kasdienių įvykių) transformavimo pavyzdžiai. Pagrindiniai darbo metodai yra nuodugnus skaitymas, kiekvieno apsakymo analizavimas ir interpretavimas, bandant apibrėžti jo žanrą, pastebint aukštosios ir populiariosios kultūrų atvejus ir jų pateikimo būdus, užčiuopiant šių dviejų kultūrų susikirtimo tašką ir analizuojant toje sankirtoje paslėptą autoriaus mintį. Darbe atskleidžiama pagrindinė apsakymų rinkinio mintis – nepasitenkinimas šiuolaikine Amerikos visuomene. Remiantis apsakymų rinkinio analize, bandoma parodyti, jog visuomenė yra nykimo... [toliau žr. visą tekstą]

Reklama, kurioje veikia literatūrinis, mitologinis ar folklorinis personažas, kuria vientisą ir labai konkretų įvaizdį, kuris apima tiek reklamos kūrėją ir vartotoją, tiek ir reklamos pardavėją bei visuomenę. Šio darbo objektas – literatūriniai, mitologiniai ir folkloriniai personažai, veikiantys reklamos diskurse. Minėti personažai, palikę savo autorius ir pirminius kūrinius, ateina į reklamos diskursą, virsdami savarankiškai gyvuojančiais objektais. Reklamos kūrėjų pagrindinė užduotis – pristatyti personažus taip, kad vartotojas, juos pamatęs reklamos diskurse, greičiau atpažintų – tokiu būdu net ir kitoje disciplinoje personažų kuriami konceptai išlieka populiarūs ir paveikūs. Magistro darbe analizuojama, kaip buvo kuriami literatūriniai, mitologiniai, folkloriniai personažai ir kokią funkciją jie atliko savo pirminiuose kūriniuose, nagrinėjama, kaip jie keičiasi, patekę į reklamos diskursą. Literatūrinėje plotmėje personažai veikė pagal vienokias taisykles – kūrinio autoriaus sugalvotą siužetą, o dabar, įkelti į reklamos diskursą, šie personažai yra perkuriami pagal reklamos kūrėjui reikiamą strategiją. Perkurti personažai pasiekia reklamos vartotoją ir ima veikti interteksto pagrindu, tačiau implikuojant visiškai naujas reikšmes, t. y. vartotojas reklaminį pranešimą, kuriame veikia literatūriniai, mitologiniai ar folkloriniai personažai, perskaito visiškai naujai – pagal reklamai galiojančius reikalavimus ir taisykles. Literatūriniai, mitologiniai ir folkloriniai... [toliau žr. visą tekstą] / Advertisement in which literary, mythological or folkloric character acts, creates a single and very specific image that embraces both advertiser and user, as well as advertising dealer and society.Object of this work: literary, mythological and folkloric characters, acting in advertising discourse. These characters having left their original authors and works come to advertising discourse turning into individually existing subjects. The main task of ad creators is to present the characters so that the user, seeing them in advertising discourse, recognizes them as fast as possible – in that way, even the concepts created by the characters in other disciplines remain popular and influential. Master thesis analyzes how the literary, mythological, folkloric characters were created and what function they performed in their original works, as well as how they change having entered the advertising discourse. In the literary context, the characters acted in accordance with the rules in one way - the author’s conceived plot, and now, entered into the discourse of advertising, these characters are rebuilt according to the strategy necessary for the advertisers. Recreated characters reach the ad consumer and start acting on the intertext basis, but implying entirely new meanings, i.e. consumer reads the advertisements with acting literary, mythological and folkloric characters, in the totally new way: according to requirements and regulations applied for advertising. Literary... [to full text]

Ce mémoire porte sur le travail de l’intertextualité dans les quatre oeuvres que Jorge Semprun (1923-) a consacrées à ses souvenirs de déportation au camp de Buchenwald : Le grand voyage (1963), Quel beau dimanche! (1980), L’écriture ou la vie (1994) et Le mort qu’il faut (2001). Chaque oeuvre poursuit la recherche d’un langage approprié à la narration d’une expérience qui résiste obstinément à sa représentation. L’intertextualité, de même que les réminiscences musicales, filmiques ou picturales, composent chez Semprun une image complexe de l’expérience du déporté, faisant coexister l’ombre et la lumière, l’angoisse et la joie, le mal radical et la fraternité, loin de tout cliché manichéen. Il s’agira ici de lire ce témoignage magnifique sur les camps nazis comme un dialogue profond entre l’art et la barbarie, la création et la destruction, la mémoire culturelle et la mémoire traumatique. / This essay covers the issue of intertextuality in the four works that Jorge Semprun (1923-) wrote about his memories from Buchenwald : Le grand voyage (1963), Quel beau dimanche! (1980), L’écriture ou la vie (1994) and Le mort qu’il faut (2001). Each work stems from the search of an apropriate language for narrating an experience that poses a radical challenge to its représentation. Intertextuality, as well as memories of works of art, yield a complex image of the experience of a survivor, where shadow and light, anguish and joy, Radical Evil and fraternity coexist, far away from the traditional cliché. The objective here is to read Semprun’s wounderfull testimonies as a profound dialogue between art and the Holocaust, creation and destruction, cultural memory and traumatic memory.

Thèse numérisée par la Division de la gestion de documents et des archives de l'Université de Montréal

This thesis is in three chapters. Chapter one is about Harold Bloom's theory of the Anxiety of Influence. Bloom's argument is that literary history is shaped by the anxiety of "strong" poets at their belatedness. I show that he depends upon a subjective interpretation of literary production in order to defend a rigidly traditional canon. / Chapter two deals with theories of intertextuality, principally those of Julia Kristeva and Michael Riffaterre. As alternatives to theories of influence, neither proves satisfactory. Both founder on the contradictory goal to explain all literature, at the expense of recognizing literary diversity. / Chapter three concerns literary variations. These are texts which are deliberately premised on pre-existing texts. I focus on three examples from this class of literary texts which is not satisfactorily dealt with by any of the theories I consider. I pursue a less wide-ranging approach in order to unearth important features of literary variations.

Reklamoje galima rasti meninių priemonių, kalbos funkcinių stilių požymių ar perdirbtų kitų tekstų fragmentų, t. y. intertekstų, kurie padeda įgyvendinti reklamos tikslus ir tampa svarbia raiškos priemone. Reklamų intertekstualumas anksčiau nebuvo plačiai tyrinėtas, todėl yra tikslinga aptarti reklamose rastus intertekstus. Baigiamojo magistro darbo tema yra „Reklamų intertekstualumas“. Darbo tikslas yra išsiaiškinti, kokius intertekstinius elementus reklamų kūrėjai renkasi savo reklamoms, kokia vartojamų elementų raiška ir koks turinys perduodamas. Šiam tikslui pasiekti keliami tokie uždaviniai: surinkti tokį spausdintinių reklamų skaičių, kuris leistų tinkamai atlikti tyrimą ir suformuoti objektyvias išvadas, suklasifikuoti intertekstus ir juos apibūdinti, išanalizuoti intertekstualiųjų elementų raišką, nustatyti intertekstualiųjų elementų funkcijas reklamos tekste, apibendrinti tyrimą ir pateikti išnagrinėtų intertekstų vartosenos kryptis. Darbe yra tiriamos 110 spausdintinių reklamų. Pradžioje aptariamas intertekstualumas: kalbama apie intertekstualumo esmę, pateikiama intertekstualumo raiškos pavyzdžių. Praktinėje dalyje yra atliekamas reklamų tyrimas – kalbama apie intertekstualumo raišką spaudos reklamose. Spausdintinėse reklamose vartojamomis citatomis praplečiamas reklamos tekstas, argumentuojami teiginiai apie reklamuojamą prekę ar paslaugą, parodoma produkto vertė: palankiai apie jį mano ne tik adresantas, bet ir žinoma asmenybė. Kiti tekstai ar jų fragmentai... [toliau žr. visą tekstą] / There are found lots of artistic devices in advertisements. Lots of features of functional style of language or redone fragments from other texts (intertexts), help to implement the goals of advertisement and it becomes the important way of expression. The intertextuality in advertisement has not been widely studied earlier so it is appropriate to discuss the intertexts which are found in advertising. The Master thesis is „Intertextuality in advertisement“. The goal of the thesis is to find out what intertextual elements are chosen for advertisers in their advertisements, what is the expression of used items and what content is transferred. To achieve the goal the following tasks were solved: to collect the sufficient quantity of printed advertisements in order to do a research: to form objective conclusions; to classify intertexts and to describe them; to analyse the expression of intertextual elements, set functions of intertextual elements in advertisement texts and to describe them; to make conclusions of the research and submit the directions of using analysed intertexts. There are 110 printed advertisements analysed in the thesis. Firstly the intertextuality is discussed: the point of intertextuality, the examples of intertextuality are given. The research of advertisements is made in the theoretical part – it discusses the expression of intertextuality in printed advertisements. The quotations used in it help to extend the text, argue statements about products or... [to full text]

The most common approaches to arranged Poetic Collection are the chronological and the bibliographical orders, that is, the ones that privileges a book that normally would be called an anthology: the arrangements of poems following the order of the compositions of the poems (chronological), or the order of previous publications (bibliographical). "El corazón del instante" (The Heart of the Instant, 1998) by the Mexican poet Alberto Blanco (Mexico City, 1951) is a collection of twelve books of poems in one volume. The books in the collection --or the “chapters”, as Alberto Blanco call them in his “Introductory Note” of the book --are presented not in a bibliographical or chronological order, but in accordance to an order that the poet imposed to the book himself. The structural proposal of the book contradicts the definition of any “normal” anthology. In order to approach a book of such nature, we would use and apply the concept of “contextural poetics”, introduced by Neil Fraistat in his book "Poems in Their Place (The Intertextuality and Order of Poetic Collections)", published in 1986. This approach suggest that a PoetryCollection or a simple Book of Poems should be able to be read as one long and single poem. Some of the key concepts of my investigation are already listed in the subtitle of the book: “Intertextuality” and “Order”, and we would like to add “Context”. The concept of “contextural poetics” is explain by Fraistat as the resultant of the context of the book where the poems are reunited, the interaction among poems, and the “contexture” that derives from that interaction. Many critics claim that in every long poem has to exist some kind of narrative, idea that brings other important concepts that we have to approach, like long poem, poetic sequences and poetic series that would complement our study. We believe that the book "Libertad bajo Palabra [1935-1957]" by Octavio Paz, in the critical edition of Enrico Mario Santí, is the implicit model of "El corazón del instante". Our goal is to try to determine what is "El corazón del instante", because in the “Introductory Note” the poets claim that the book is not an anthology, but a “complete cycle of poems”. That is what we would try to find out: what is “a complete cycle of poems”.

The boundaries of opera, as in all art forms, are constantly being re-evaluated. This analysis examines one of the most recent developments in opera-the use of film as source material, and connections to the film world- through analyzing three operas: Austrian composer, Olga Neuwirth’s opera, Lost Highway, Chinese-American composer, Tan Dun’s opera, The First Emperor, and acclaimed American film composer, Rachel Portman’s opera, The Little Prince. Each of these works exemplifies the modern relationship of opera and film in different ways. To classify these newly film-influenced works, the term cinemopera is used in describing operas connected to or influenced by film. Analytical techniques and historical perspectives, as well as revealing how these three operas are associated with the film world through their composers, source materials, and styles are the tools utilized to establish the characteristics of cinemopera as an operatic subcategory. Also, a definition and discussion of intertextuality in these operas reveals not only their cinematic features, but their ties to common practices in music history. Lost Highway is one of the most intertextual works containing sound effects, electronic music, and drawing heavily upon the David Lynch film of the same name as its source material. The First Emperor is an interesting study in modern ethnomusicology and contains many links to film in its source material as well. The Little Prince has a different kind of intertextuality than the preceding two operas because its source material is a French children’s book. However, since its composer, Rachel Portman, is a very distinguished film composer, it represents many elements of style commonly found in cinemopera. Finally, opera as a business is changing due to its convergence with film. The visual aspect of opera productions is of increasing importance, as is a singer’s credibility in the role they are portraying. Singers must look their parts much more so now than even two decades ago. As cinemopera is explored herein and its effects on the business are discussed, so are the elements of style which clearly serve to classify an opera as cinemopera.

I det rådande informationssamhället där utbytet av information och digitalt material har blivit mer framträdande än någonsin tidigare har även upphovsrättsfallen kring dess användande och återanvändande blivit allt mer aktualiserade. I denna uppsats har vi sökt att studera hur normer kring skapande och originalitet har påverkat kreativa aktörers syn på återanvändning och rekontextualisering under det senare 00-talet och tidiga 2010-talet. Genom att utveckla metoden interkontextualitet har vi studerat hur människan och hennes kognitiva processer influerar rättsfall som rör just deriverade verk och/eller rekontextualisering. Den digitala tekniken har fört med sig nya normer kring skapande tillika hur information förmedlas mellan människor, vilket resulterat i förändrade konsumtionsmönster och en remixkultur där individuella verk inte ses som statiska enheter utan som levande, sammanlänkade uttryck. Kognitiva processer kan ha bidragit till denna remixkultur och i sin tur mer generaliserade attityder från mediadistributionsbolag och myndighetsorganisationer. Med bakgrund av detta söker vi att förespråka en mer öppen syn på de interkontextuella samband som binder kreativa verk och deras bakomliggande kreatörer till varandra. Att se kreativa uttryck som en del i den globala meme-pool,där människor tillsammans bygger vidare på vårt kulturella arv, kan vara ett steg i att motverka skadlig egoism kring det egna skapandet. / In the current information society where the exchange of information and digital material has grown to become more prominent than ever before, so has the copyright cases regarding the usage and reusage of said materials become increasingly actualized. In this thesis, we’ve sought to study how norms surrounding creation and originality has affected the views on reuse and recontextualization of creative actors during the latter parts of the 2000’s as well as the early 2010’s. By developing the method intercontextuality, we’ve been studying how mankind and her cognitive processes influence court cases concerning derivative works and/or recontextualization. The digital technology has brought forth new norms surrounding creation as well as how information is mediated between people, which has resulted in changed consumption patterns and a remix culture where individual works are no longer viewed as static entities, but as living, interconnected expressions. Cognitive processes may have contributed to this remix culture and in turn more generalising attitudes from media distribution companies and government organizations. We proceed to advocate a more open view on the intercontextual connections that bind all creative works and their underlying creators together. To view creative expressions as a part of the global meme-pool, where together people keep building on our cultural heritage may just be a step towards preventing harmful egoism surrounding one’s own creations.

This paper makes an attempt to explain the construction of a newly developed genre called revenge porn flourishing in new media. The study analyzes the patterns of production and display of revenge porn content as well as the mechanisms of the site that archives such materials. The results of this study suggest that the development of such a genre cannot be attributed only to liberatory and/or victimizing effects of the electronic space. Rather, social power structures based on discourses like gender, heterosexuality and capitalist patriarchy that exploit the surveillance mechanism of the internet are significantly influencing both individual uses of the internet as well as its apparatus and technologies. These are the major forces contributing to the institutionalization and commercialization of revenge porn in new media. This is a case study based investigation that uses both content analysis and discourse analysis as methods to interpret the revenge porn genre in new media.