DOCSLIB.ORG

Modernist Subject in Time: Fugue and the Fourth Dimension

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Modernist Subject in Time: Fugue and the Fourth Dimension The (Proto-)Modernist Subject in Time: Fugue and the Fourth Dimension by Antonio Gordon Viselli A thesis submitted in conformity with the requirements for the degree of Doctor of Philosophy Centre for Comparative Literature University of Toronto © Copyright by Antonio Gordon Viselli 2014 The (Proto-)Modernist Subject in Time: Fugue and the Fourth Dimension Antonio Gordon Viselli Doctor of Philosophy Centre for Comparative Literature University of Toronto 2014 Abstract In such curiously compelling historical proximity, French symbolist poets and European modernist writers experimented with a particular musical form in literature: fugue, a musical style that reaches its height in the Baroque period, with the composition of Bach’s unfinished work, Die Kunst der Fuge. This dissertation analyzes the peculiar melopoetics of fugal writing in fin-de-siècle poets as well as in their modernist counterparts, who write in French, English and Italian. On a formal level, this project demonstrates how – within an intermedial methodological framework – fugue functions as a hybrid, experimental narrative, in its representation of polyphony and counterpoint, as well as both a horizontal and – a nearly impossible feat within linear narrative – vertical simultaneity in literature. Above and beyond the manner in which a fugal poetics manifests itself in the works of Verlaine, Mallarmé, Joyce, Pound, Gide and Vittorini, the fugue – defined, in part, as the variations of a single subject in time and space – becomes a vessel for authors to represent a fragmented modern subjectivity, and a crisis of language and communication, at a specific historical juncture, and within diverse aesthetic and political contexts. The enigmatic and resistant fugal form not only subverts language in these authors’ works – by colliding two distinct semiotic media, in which only one is mimetic –, thus creating a reading experience of “hostipitality” (Derrida), but it also performs the desire for wholeness, by deconstructing the ‘subject’ – with all of its polysemic ambiguity – in relation to the self, to objects, and to alterity. Finally, fugue’s interdisciplinarity goes beyond breaching the gap between music and literature, and comes into dialogue with the distinct notions of four- dimensionality, from relativity theory to non-Euclidean geometry. ii Acknowledgements The fugue always exceeds itself in some way, shape or form; it wanders, diverts and fragments itself. In a project that seeks to contain the uncontained, I have had tremendous support from numerous individuals, whose guidance has facilitated the interweaving of a fugal poetics’ many braids, in an attempt to reach coherence and harmony. I would like to sincerely thank the Centre for Comparative Literature for its support, and most importantly, my supervisors and committee: Professors Roland Le Huenen, Ming Xie, and Luca Somigli, for their encouragement, pertinent observations and intriguing questions, as well as their availability at some of the busiest times in the academic year. This dissertation would not have come to term in a timely manner without their dedication and disposal. I would also like to extend my gratitude to Professors Frédérique Arroyas, Eva-Lynn Jagoe, and Julie LeBlanc for their excellent comments, questions and suggestions during the doctoral defense. Among the many friends, colleagues and professors who have helped shape this project in some shape or form, I would like to recognize the late Professor Françoise Haffner for the enthusiastic dedication to French poetry that she inspired within me. My gratitude extends to Dr. Brendon Wocke as well, not only for the proofreading and comments he provided, but also for the fruitful discussions we shared: productive exchanges and collaborations that, I have come to believe, are the basis of our teaching and research in the Humanities. I am extremely grateful to my family for their unwavering support and inspiration: to my parents, Sante and Patricia Viselli, for having instilled within me a passion for languages, literature, art, and travelling; to my grandmother, Jean Hally, for her constant encouragement; to my wife, Maria, my metronome, mantra, and muse; and to my daughter, Valentina, the counterpoint to a fleeting poetics, who inspired the completion of a project that resists finitude. iii Table of Contents Table of Contents ........................................................................................................................... iii List of Figures ............................................................................................................................... vii Prologue as Prelude: Fugue is in the Air ................................................................................. viii Chapter 1 The Melopoetics of Fugue .......................................................................................... 1 1 On Musico-Literary Poetics ....................................................................................................... 1 1.1 Fugue: History, Form and Variation ................................................................................... 6 2 Towards a Definition of Fugue in Literature ........................................................................... 12 2.1 Polyphony and Counterpoint ............................................................................................ 14 3 Why Orchestrate a Literary Fugue? ......................................................................................... 26 3.1 The Fleeting Subject ......................................................................................................... 27 3.2 The Subject in Time and Space ........................................................................................ 30 3.3 The Fourth Dimension ...................................................................................................... 34 4 Enigmatic Fugues and their Readership ................................................................................... 42 Chapter 2 Symbolism and the Fugal Poetics of Verlaine and Mallarmé ............................... 50 1 “Vêtir l’Idée d’une forme sensible”: Defining Suggestiveness and the Contours of the Symbol ................................................................................................................................... 50 1.1 The History of Symbolism and of the Symbol ................................................................. 56 1.2 A Symbolist Movement A Posteriori: from Music to Language ...................................... 60 1.3 Towards a Definition of the Symbol ................................................................................. 63 2 The Vacuity of Language, Subjectivity and the Problem of Communication ......................... 66 2.1 Symbolist Subjectivity ...................................................................................................... 68 2.2 Schopenhauer .................................................................................................................... 70 2.3 Bergson ............................................................................................................................. 72 2.4 Music and the Symbolist Movement ................................................................................ 75 3 Verlaine and the Fugal Poetics of Romances sans paroles ...................................................... 79 3.1 Language amidst Fugues and Arias .................................................................................. 83 3.2 The Linguistic Fugal Breakdown: “Ariette III” ................................................................ 88 3.3 Subjectivity and Alterity: the Question of the Receiver ................................................... 93 3.4 “Ariette III,” Fugue and the Destruction of Language ..................................................... 95 3.5 Four-dimensionality .......................................................................................................... 99 4 Mallarmé ................................................................................................................................ 101 iv 4.1 Mallarmé and le Néant .................................................................................................... 103 4.2 A Summary of “L’Après-midi d’un faune” .................................................................... 107 4.3 The Fugal Poetics of “L’Après-midi d’un faune” ........................................................... 109 4.4 Variations on the Subject of Absence ............................................................................. 112 5.0. From Symbolist to Modernist Fugal Poetics ....................................................................... 117 Chapter 3 The Anglo-Modernist Novel and Long Poem: Fugue in James Joyce's Ulysses and Ezra Pound's The Cantos ........................................................................................... 121 1 A Hermeneutics of Hospitality ............................................................................................... 121 1.1 Joyce and Music, Music and Ulysses .............................................................................. 125 1.2 (Un)Weaving Counterpoint: Penelope and (In)Fidelity ................................................. 128 1.3 Joyce’s Fuga per canonem vs. The Critics ..................................................................... 132 1.4 Re-re-opening the Mystery of Fugue in “Sirens”
Load more

Recommended publications
  • Reading Nico Nico Douga with Gerard Genette
    Götz Bachmann, Metadata Project, Goldsmiths College, 4.8.08 Series: Nico Nico Douga Texts1, Nr 11 Reading Nico Nico Douga with Gerard Genette Inspired by the discussions with Takashiro-san, Hamano-san and Yoshikawa-san, I think it might be just about time to start and come forward with some of my own initial ideas, how an analysis of Nico Nico Douga could be pushed forward. What follows is of course radically preliminary, not only because I still know far too little about Nico Nico Douga, but also because it is only the very beginning of a theoretical analysis. One way into the analysis could be through the work of the French structuralist and literary theorist Gerard Genette, who wrote in the late 70ties and 80ties extensively about the relations that connect texts to other texts. Genette’s term for the multiplicity of the relations between texts is “transtextuality”, and you can read more about it in his works “Introduction a l’Architexte” (1979), “Palimpseste. La Litterature au second degree” (1982), and “Seuils” (1987) – the latter two are translated into German, and the last one, as “Paratexts” (1997), also into English. Genette develops in my opinion in these works a precise alternative to the more known ideas of Julia Kristeva on this topic. Attention: He uses his terms slightly different to her. 1 In this series of short and preliminary (!!) texts we publish first results of the Metadata Project’s ethnographic research on Nico Nico Douga. You can find more on http://www.goldsmiths.ac.uk/media-research-centre/project2.php and on our research blog: http://d.hatena.ne.jp/metagold/.
    [Show full text]
  • Exploring Transtextuality in Competitive Games and Esports
    Playing Across Media: Exploring Transtextuality in Competitive Games and eSports Ben Egliston The University of Sydney Sydney, NSW, Australia [email protected] ABSTRACT The aim of this paper is to explore the synthesis of digital games and observatory media facilitated by eSports and the competitive play of games. Borrowing from Genette's work in the field of literary studies, as well as media and game studies research, I describe the crossmedia assemblage occurring in competitive games as transtextual. A particular focus is the quantitative analysis of play in Valve's Dota 2. Using publicly archived player statistics, I describe how the broadcast play of professionals has come to exist as a locus of game knowledge and an impetus for styles of play for many amateur players. I argue that players must negotiate both the traditional gamespace and the space of surrounding texts with which gameplay has become conflated. Conversely, I posit that transtextual systems are situationally reflexive, and amateur players can assert change in professional domains. In addition to the compositional analysis of the crossmedia videogame form, I explore the phenomenological implications of this assemblage, namely digital games' movement away from its common conceptualisation as leisure based activity. Keywords Games, eSports, Transtextuality, Intertextuality, Paratext INTRODUCTION The competitive play of digital games has come to represent a complex dialectic between texts, namely the game-proper and the surrounding array of observatory media. The growing pervasiveness of spectator platforms and observatory practice across the contemporary gaming landscape has been impactful in forcing a reformulation of what games as a medium fundamentally involve and demand.
    [Show full text]
  • Investigating Film Algorithm Transtextuality in the Age of Database Cinema
    Cristiano Poian – Investigating Film Algorithm V MAGIS Gradisca Spring School “Cinema and Contemporary Visual Arts II” Cristiano Poian, University of Udine Investigating Film Algorithm Transtextuality in the age of database cinema Today my lecture aims to explore some peculiar passing modalities, so to say some “transtextual and transmedial migrations” among traditional narrative cinema and a group of digital artworks, in the context of what Lev Manovich has defined the “era of database”, to demonstrate that the acts of transcription from the filmic form into new media forms (the passage from film to interactive text, software, videogame and so on) is quite always a research practice towards what I will soon define “the film algorithm”. More generally, I would like in these minutes to think about the concepts of remediation and transtextuality in the transition from the so called paradigm of narrative to the paradigm of database, questioning their functioning, using for this objective on the one hand some theoretical indications coming from Manovich’s reflections upon the database form, end on the other hand a recent theory by Ian Bogost about “Unit operations”. The works which will help me along this path are basically two: the Cinema Redux series by the british artist Brendan Dawes, which translates into static images a set of films, and The Battle of Algiers by the French artist and filmmaker Marc Lafia in collaboration with the Taiwanese new media artist Fang Yu Lin, an interactive work based on the original film by Gillo Pontecorvo. In different ways, and leading to different outputs (a series of static images in the case of Cinema Redux, an interactive online installation in the case of The Battle of Algiers), the two artworks well represent the modalities in which the so called new (digital) media deal with contents that come from traditional media, trying to RE-WRITE them in a way that is the most peculiar to the interactive and procedural vocation of the digital medium.
    [Show full text]
  • Typology and Transtextuality Willem Strank
    The practice of songscoring: typology and transtextuality Willem Strank (Kiel) I. Four kinds of songscoring: a short contextual typology The practice of ›songscoring‹ has already been researched extensively (Romney/Wootton 1995, Donnelly 2001, Wojcik/Knight 2001, Inglis 2003, Reay 2004, Dyer 2011 among many others) and there have been many substantial efforts to produce a comprehensive overview as well as numerous dedicated case studies. Thus the following introduction does not aim to reinvent or sum up these ample results but try to outline two different typological approaches to songscoring which are contextual and transtextual respectively. They are merely meant to serve as a humble introduction to the subsequent articles about the history, theory and practice of songscoring assembled in this edition as a result of a conference called »›Play it again, Sam!‹ The history, theory and practice of songs in film« held in Kiel in 2014. For the contextual typology I am going to introduce four different approaches to describing the use of songs in films. The first approach can be regarded as an accumulation of examples directed or supervised by the same »auteur« – comparing directors’ or musical supervisors’ use of songs in different films. Some directors have constant collaborators (e. g. the liaison of Martin Scorsese and Robbie Robertson, see Rabenalt 2015) or habitually account for the selection of pre-existing film music themselves. This practice may have become extremely popular in recent decades because of KIELER BEITRÄGE ZUR FILMMUSIKFORSCHUNG, 12, 2016 // 181 Quentin Tarantino whose ›mixtape technique‹ is sometimes regarded by film critics to be something completely new.
    [Show full text]
  • Gerard Genette and the Categorization of Textual Transcendence
    ISSN 2039-2117 (online) Mediterranean Journal of Social Sciences Vol 6 No 5 ISSN 2039-9340 (print) MCSER Publishing, Rome-Italy September 2015 Gerard Genette and the Categorization of Textual Transcendence Sayyed Ali Mirenayat PhD candidate in English Literature, Faculty of Modern Languages and Communication, Universiti Putra Malaysia Elaheh Soofastaei PhD candidate in English Literature, Faculty of Modern Languages and Communication, Universiti Putra Malaysia [email protected], [email protected] Doi:10.5901/mjss.2015.v6n5p533 Abstract A text relation with other texts has been a significant subject, which attracted the consideration of researchers, such as Julia Kristeva, Roland Barthes and etc. within Structuralism and Post-Structuralism. Gerard Genette, a French literary theorist, is one of the researchers who define “transtextuality” as a theory which is used when we are not sure about the interpretation of one text that we are reading. His theory describes the different methods in later text which motivates us to read an earlier one. This is the important reason that I have decided to look at his different methods. Genette broadens the study area of Julia Kristeva about “intertextuality” as a theory pointing to relation between various texts. He defines five categories of transtextuality, including intertextuality, paratextuality, metatextuality, architextuality, and hypertextuality, which this paper will explore them as Genette’s textual transcendence. Keywords: Transtextuality, Intertextuality, Paratextuality, Metatextuality, Architextuality, Hypertextuality, Hypotextuality 1. Introduction A text is … a multidimensional space in which a variety of writings, none of them original, blend and clash. The text is a tissue of quotations … The writer can only imitate a gesture that is always anterior, never original.
    [Show full text]
  • Department of English and American Studies English
    Masaryk University Faculty of Arts Department of English and American Studies English Language and Literature Michaela Kravalová Parody, Meta-parody and Self-parody in Ishmael Reed’s Mumbo Jumbo Bachelor ’s Diploma Thesis Supervisor: Mgr. Martina Horáková, Ph. D. 2009 I declare that I have worked on this thesis independently, using only the primary and secondary sources listed in the bibliography. …………………………………………….. Michaela Kravalová 2 Table of Contents 1. Introduction.................................................................................................................4 2. The Concept of Parody................................................................................................8 2.1 Genette’s Notion of Transtextuality....................................................................8 2.2 Simon Dentith’s Spectrum of Parody................................................................13 2.3 Linda Hutcheon’s Postmodern Parody..............................................................15 2.4 Mikhail Bakhtin’s Double-voiced Discourse....................................................17 2.5 Henry L. Gates’ Notion of Parody in Signifyin(g)............................................19 3. The Function of Parody, Meta-parody and Self-parody........................................21 3.1 The Function of Parody.....................................................................................21 3.2 Meta-parody.......................................................................................................24
    [Show full text]
  • Folklore and Mythology in Neil Gaiman's American Gods
    FOLKLORE AND MYTHOLOGY IN NEIL GAIMAN'S AMERICAN GODS by SEAN EDWARD DIXON A THESIS Presented to the Folklore Program and the Graduate School of the University of Oregon in partial fulfillment of the requirements for the degree of Master of Arts June 2017 THESIS APPROVAL PAGE Student: Sean Edward Dixon Title: Folklore and Mythology in Neil Gaiman's American Gods This thesis has been accepted and approved in partial fulfillment of the requirements for the Master of Arts degree in the Folklore Program by: Daniel Wojcik Chairperson John Baumann Member and Scott L. Pratt Dean of the Graduate School Original approval signatures are on file with the University of Oregon Graduate School. Degree awarded June 2017 ii © 2017 Sean Edward Dixon iii THESIS ABSTRACT Sean Edward Dixon Master of Arts Folklore Program June 2017 Title: Folklore and Mythology in Neil Gaiman's American Gods This thesis provides a critical analysis of the use of folklore and mythology that exists in Neil Gaiman's award-winning novel, American Gods. I focus on the ways in which American Gods is situated within an intertextual corpus of mythological and mythopoeic writing. In particular, this study analyses Gaiman’s writing by drawing upon Mircea Eliade’s ideas about mythology and Northrop Frye’s archetypal criticism to discuss the emergence of secular myth through fantasy fiction. iv CURRICULUM VITAE NAME OF AUTHOR: Sean Edward Dixon GRADUATE AND UNDERGRADUATE SCHOOLS ATTENDED: University of Oregon, Eugene American University, Washington DC DEGREES AWARDED: Master of Arts,
    [Show full text]
  • The Pleasure of the Intertext: Towards a Cognitive Poetics of Adaptation
    !1 THE PLEASURE OF THE INTERTEXT: TOWARDS A COGNITIVE POETICS OF ADAPTATION A dissertation presented by Meg Tarquinio to The Department of English In partial fulfillment of the requirements for the degree of Doctor of Philosophy in the field of English Northeastern University Boston, Massachusetts April, 2017 !2 THE PLEASURE OF THE INTERTEXT: TOWARDS A COGNITIVE POETICS OF ADAPTATION by Meg Tarquinio ABSTRACT OF DISSERTATION Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in English Literature in the College of Social Sciences and Humanities of Northeastern University April, 2017 !3 ABSTRACT The field of adaptation studies has been diagnosed as lacking consensus around its main tenets, especially those that would build a strong ontological foundation. This study participates in the burgeoning critical approach that places cognitive science in conversation with literary theory, looking towards the start of a cognitive turn in adaptation studies. Specifically, I offer the axiom that adaptations are analogies. In other words, I advance the original argument that adaptations are the textual expression of the cognitive function of analogy. Here, I’m using a cognitive theory of analogy as the partial mapping of knowledge (objects and relations) from a source domain to a target domain. From this vantage point, I reassess the theoretical tensions and analytical practices of adaptation studies. For instance, the idea of essence is an anathema within academic studies of adaptation, yet it continues to hold sway within popular discourse. My approach allows for a productive return to essence, not as some mystical quality inherent in an original text and then indescribably transmitted to its adaptation, but as the expression of a key sub-process of analogical reasoning – what Douglas Hofstadter refers to, conveniently, as “essence” or “gist extraction.” This line of argument demonstrates the degree to which André Bazin’s 1948 theorization of adaptation is in line with this cognitive version of essence.
    [Show full text]
  • Analyzing Genre in Post-Millennial Popular Music
    City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 9-2018 Analyzing Genre in Post-Millennial Popular Music Thomas Johnson The Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/2884 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] ANALYZING GENRE IN POST-MILLENNIAL POPULAR MUSIC by THOMAS JOHNSON A dissertation submitted to the Graduate Faculty in Music in partial Fulfillment of the requirements for the degree of Doctor of Philosophy, The City University of New York 2018 © 2018 THOMAS JOHNSON All rights reserved ii Analyzing Genre in Post-Millennial Popular Music by Thomas Johnson This manuscript has been read and accepted for the Graduate Faculty in music in satisfaction of the dissertation requirement for the degree of Doctor of Philosophy. ___________________ ____________________________________ Date Eliot Bates Chair of Examining Committee ___________________ ____________________________________ Date Norman Carey Executive Officer Supervisory Committee: Mark Spicer, advisor Chadwick Jenkins, first reader Eliot Bates Eric Drott THE CITY UNIVERSITY OF NEW YORK iii Abstract Analyzing Genre in Post-Millennial Popular Music by Thomas Johnson Advisor: Mark Spicer This dissertation approaches the broad concept of musical classification by asking a simple if ill-defined question: “what is genre in post-millennial popular music?” Alternatively covert or conspicuous, the issue of genre infects music, writings, and discussions of many stripes, and has become especially relevant with the rise of ubiquitous access to a huge range of musics since the fin du millénaire.
    [Show full text]
  • Transtextuality .,,In Pnn~, ,,,,,, Tlar Ant,.,,,,, Tcir ,,,Nn Commercial Radio
    National Library Bibliotheque nationale of Canada du Canada Acquisitions and Direction des accuisitions et Bibliographic Services Branch des services bibli~graphiques 395 Wellington Siret 395, rue Wellington Ottawa, Ontario Ottawa (Ontario) KIA ON4 KIA ON4 The quality of this microform is La qualite de cette microforme heavily dependent upon the depend grandernent de la qualit@ quality of the original thesis de la thQse soumise au submitted for microfilming. microfilmage. Hous awns tout Every effort has been made to fait pour assurer une qualit6 ensure the highest quality of suphrieure de reproduction. reproduction psssible. If pages are missing, contact the S'il manque des pages, veuillez university which granted the communiquer avec I'universite degree. qui a confere le grade. Some pages may have indistinct La qualite d'irnpression de print especially if the original certaines pages peut laisser a pages were typed with a poor dbsirer, surtout si les pages typewriter ribbon or if the originales ont et6 university sent us an inferior dactylographiees a I'aide d'un photocopy. ruban us6 ou si I'universite nous a fait parvenir une photocopie de qualite inferieure. Reproduction in full or in part of La reproduction, m&ma partielle, this microform is governed by de cette microforme est soumise the Canadian Copyright Act, a la Loi canadienne sur Ce droit RSC 1970, c. C-30, and d'auteur, SRC 1970, c. C-30,et subsequent amendments. ses amendements su bsequents. Eric James Spalding E.A., Concordia University, 1985 M.A., gniversit6 du Quhbec ~ontrgal,1988 THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY in the Department of COMMUNICATION (C) Eric James SpaLdlng 1992 SIMON FRASER UNIVERSITY August 1992 All rights reserved.
    [Show full text]
  • Crisis of Infinite Intertexts! Continuity As Adaptation in the Superman Multimedia Franchise
    Crisis of Infinite Intertexts! Continuity as Adaptation in the Superman Multimedia Franchise Jack Peterson Teiwes ORCID identifier 0000-0001-8956-1602 Doctor of Philosophy November 2015 School of Culture and Communication The University of Melbourne Submitted in total fulfillment of the requirements of the PhD degree Produced on archival quality paper Abstract Since first appearing as a comic book character over three quarters of a century ago, Superman was not only the first superhero, spawning an entire genre of imitators, but also quickly became one of the most widely disseminated multi-media entertainment franchises. This achieved a degree of intergenerational cultural dissemination that far surpasses his comic book fandom. Yet despite an unprecedented degree of adaptation into other media from radio, newspaper strips, film serials, animation, feature films, video games and television, Superman’s ongoing comic books have remained in unbroken publication, developing a long and complex history of narrative renewal and reinvention. This thesis investigates the multifaceted intertextuality between the comic book portrayals of Superman and its many adaptations over the years, including how such retellings in other media have a generally stronger cultural impact, which exerts in turn an adaptive influence upon these continuing comics’ internalised narrative continuity. I shall argue that Superman comics, as a case study for the wider phenomenon in the superhero genre, demonstrate via their frequent revisions and relaunches of continuity, a process of deeply palimpsestuous self-adaptation. The Introduction positions my research methodology in relation to intertextual theory, with an emphasis on providing terminological clarity, while Chapter 1 expands into a literature review on pertinent key scholarship on adaptation studies and the comics studies field specifically.
    [Show full text]
  • Intertextuality Theory and Translation
    ISSN 1799-2591 Theory and Practice in Language Studies, Vol. 10, No. 9, pp. 1106-1110, September 2020 DOI: http://dx.doi.org/10.17507/tpls.1009.14 Intertextuality Theory and Translation Yi Long University of Shanghai for Science and Technology, Shanghai, China Gaofeng Yu University of Shanghai for Science and Technology, Shanghai, China Abstract—Intertextuality theory is one of the most complicated literary theories in contemporary literary criticism; it has inherent connections with translation. According to intertextuality theory, translation is a type of transforming activity intertextualized with language, text, culture and thinking, etc. Any translated text is a tissue in an immense network of complex, where the significance of each text unfolds through referring to each other. In some degree, intertextuality theory breaks the traditional idea of translation, and has great enlightenment on translation in many aspects. Index Terms—intertextuality, text, translation I. INTRODUCTION Since the beginning of the 21st century, translation studies have been further strengthened in both depth and breadth. However, with the emergence of various theoretical schools of humanities and social sciences, some of the cornerstones of translation theories that were previously admired by the translation community may collapse and be overthrown. Instead, it is a state of multi-symbiosis in translation theory guided by dialectical, dynamic and developing philosophical views, which can be used as a reference for other disciplines (Qin, 2002). Intertextuality is a term often used by postmodern masters and deconstructors. Intertextuality, as a text theory produced in structuralism and post-structuralism, involves the meaning generation, reading and interpretation of texts. There are a series of important problems in contemporary western literature and art, such as the relationship between text and cultural practice (Zhu, 2004).
    [Show full text]