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| 1 |
ID:
151479
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| Summary/Abstract |
This paper analyzes two versions of a printed genealogy collated by the Hmub and Kam in Eastern Guizhou, who gave authority to claims of consanguine bonds. It focuses on how the main text of the genealogy and other intertextual practices can either attribute authority to the genealogies or undermine it. On the one hand, elite accounts of ancestors in the genealogies invent a strong ideology of consanguinity that directly contributes to the text’s authority. At the same time, however, the use of Chinese characters to represent the Hmub phonetic system coexists with the Hmub system of patronymy within the assemblage of the individual descendant names. In other words, Chinese characters represent nonpersonal phonetic symbols of the Hmub language. This in turn means that anonymous voices can emerge in other texts. The result is a shift in the nature of authorship from an overtly collective authority to a covertly diffused anonymity.
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| 2 |
ID:
153536
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| Summary/Abstract |
Issues of authenticity, originality, and plagiarism have haunted Francophone literatures from the time Camara Laye was first accused of having copied the work of others. Official positions on plagiarism and copyright have provided a framework to judge the originality of literary and scholarly work, but even these pronouncements leave much open to interpretation, which may, in fact, mask the real motivations for accusations of plagiarism. Francophone writers with links to Vietnam would also be under scrutiny in such a context. Linda Lê, the most prolific writer “from Vietnam” who writes in French, cleverly and playfully treats the questions of literary authenticity, creativity, originality, intertextuality, and authorship in a strong metatextual thread running in some form throughout her long bibliography. In this way, she also examines the position of the immigrant writer in exile, the negotiation of multiple heritages and languages, and what is necessarily the shifting literary scene in France and elsewhere, as immigrant writers, among others, redefine “French literature.”
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| 3 |
ID:
162783
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This article constitutes a preliminary attempt to explore the geographical dimension of premodern Persian lyric poetry from the perspective of the relationship between the historical adherence of a text to external reality and the rhetorics of intertextuality and performativity. The pretext for this exploration is the poem known as “Tork-e Shirazi” or “The Turk from Shiraz,” one of the most celebrated ghazals of Hafez of Shiraz. The analysis focuses in particular on the first two lines of the ghazal, whose rich and ambiguous imagery has challenged the community of readers, interpreters, and scholars for centuries. On the basis of historiographical, formalist, and poststructuralist approaches to the study of lyric poetry, the article outlines a generative paradigm that analyzes a given text from the perspective of its abstract, genre-specific, conventionally negotiated, and referential levels of meaning. The contribution of geocritical studies will be combined with rhetorical analysis to conceive of Hafez’s text as a geopoetic map in which the cities of Shiraz, Samarkand, and Bukhara are put in conversation with the mental and historical representations of Iran and India between the thirteenth and fourteenth centuries, during the transition from the Mongol to the Timurid models and ideals of power.
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| 4 |
ID:
166899
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| Summary/Abstract |
Conceptually linked, noncontiguous, and undeniably national, Ibrahim Nasrallah's book series Al-milhat al-filastiniyya (The Palestine Comedies) breaks conceptual ground. Told across twelve volumes, the Comedies represents the long-called for Palestinian national novel, though in unconventional form. The series uses diverse literary devices, including intertextuality and the archetype of the twin, to demonstrate how formal innovations can redirect assumptions about what constitutes not only a national novel, but also a nation. The series reimagines relationships between space, time, and people, giving narrative shape to a community so often imagined as fragments. Abandoning the retrospective prerequisite of bounded sovereign space and homogeneous, linear time, the Comedies imagines a “nation constellation.” A close examination of two novels within the series, A'ras amna (2004) and Tifl al-mimhat (2000), shows how Palestinian relationships can be imagined outside existing national logics. It reads the constellation as an alternative nation form that can both encompass colonial frameworks and free the delimitation of Palestine from the dominance of power structures that only begin with the nation-state.
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| 5 |
ID:
186905
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This study proposes an innovative, triangular close reading of three Persian authors: Nezāmi, Golshiri, and Mandanipour. It argues that the two modern authors, Hushang Golshiri with his famous novella Shāh-e siyāhpushān, the “King of those clad in black,” and Shahriar Mandanipour in his Censoring an Iranian Love Story, are not only bound to each other in a close master-disciple relationship, but also consciously expound on the subversive potential of the twelfth-century poet Nezāmi. In the process, the divide between modern and classical narrative traditions in Persian literature is bound to disappear, allowing for novel interpretations and perspectives on Nezāmi and for his epics to be heard.
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| 6 |
ID:
143314
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| Summary/Abstract |
The screen adaptation of the novella Devdas by Saratchandra Chattopadhyay is an important landmark in early Indian cinema. A prominent film, screened in four Indian languages (Bengali, Hindi, Telugu and Tamil), it seems to offer a novel vision of romantic love and romanticism. This article critiques the fanciful interpretations of the film provided by some postmodern academics in the field of comparative literature. It endeavours to place the film both as text and cinematic work into a broader perspective based on the study of intertextuality of three renditions: Raghavaiah’s Devdas (Telugu, 1953), Bimal Roy’s Devdas (Hindi, 1955) and Bhansali’s Devdas (Hindi, 2002). Grounded in cultural theory and Indian performative aesthetics coupled with moving image analysis, this study highlights the underlying, deep-rooted romanticism embedded in Indian philosophical and aesthetic traditions of devotion between atma (individual soul) and paramatma (absolute soul), personifying Paro/Chandramukhi as atma and Devdas as paramatma. This article, part of a larger project on de-Westernising media studies, makes a critical intervention in current South Asian Studies by aiming to provide a novel theoretical framework to which the philosophical and traditional tenets grounding the novella of Devdas can be anchored.
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| 7 |
ID:
126173
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| Publication |
2013.
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| Summary/Abstract |
This paper proposes an example of mimicry as an instance of intertextuality across genres, revealing a complex social response to normative, orthodox attitudes towards women through a close analysis of two very different types of male-authored religious texts from India, Tantric texts and a particularly famous law book, Manava Dharma Sastra. I argue that mimicry functions to undermine a normative stance towards women by appropriating and subverting the well-known verse from Manu's Law Book that states that women should not be permitted any independence from their male guardians. In this case, this verse is reformulated to reverse the meaning it originally had in Manu's Dharma Sastra, communicating a very different attitude towards women. This Tantric subversion of Manu suggests not only that elements of legal texts impacted on non-dominant populations through imitation and circulation in circles outside of expected Brahmanical orthodoxy, but also that textual satire via appropriation of these verses may have at times offered resistance, contesting the political assertions of a normative view.
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| 8 |
ID:
147709
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| Summary/Abstract |
When Aafia Siddiqui ‘disappeared’ from her upper-middle class life in Boston in 2003 due to accusations that she was involved in al Qaeda, competing narratives from the US government, media, and her family emerged striving to convince the American public of her guilt or innocence. These narratives were rooted in a gendered form of neo-Orientalism that informed and structured the War on Terror. The narratives, of innocent Soccer Mom, nefarious Lady al Qaeda, and mentally fragile Grey lady, sought to explain how a well-educated woman could possibly be involved with a terrorist organisation. This article uses intertextual analysis to draw parallels between Gothic literature and the Siddiqui narratives. Gothic literature’s dependency upon gendered unease is particularly evident in the Siddiqui narratives, which then reveal the uncertainties within the War on Terror, particularly those related to American exceptionalism.
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| 9 |
ID:
104025
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2011.
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| Summary/Abstract |
The purpose of this article is to expose the existence of a recurring military grand narrative in the modern state-centric world. This narrative rests on techniques for codifying military discipline that appeared after the Middle Ages. It was then framed and diffused intertextually in classical military treatises thanks to the rediscovery of certain developments and concepts in the fields of geometry and perspective. According to the rules of this narrative, military actions are mostly described by mentioning the location and movements of (friendly or enemy) units deployed on a given terrain. This produced a geographical representation of war that is still largely relied upon by soldiers in contemporary armies (it will especially be found in current computerized systems available in contemporary military headquarters). The consequences of this narrative are manifold: (1) it participated in and assisted the reification and dehumanization of individuals as soldiers; (2) it acts as a rhetorical tool that rationalizes and naturalizes warfare; (3) and it strongly contributes to definitions of what war is in the modern state-centric world. In this way, it makes war possible.
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| 10 |
ID:
167086
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| Summary/Abstract |
Syria serves as a leading producer of the musalsal [dramatic miniseries], a key Arabic-language mass cultural form. With its dark realism and biting humor, Syrian drama has become a primary mode of sociopolitical commentary for both producers and audiences, given the restrictions on journalistic and academic expression and the absence of participatory politics in most Arab polities. Drama creators deploy a range of temporal strategies to comment on social and political conditions. A reflexive, intertextual chronopolitics runs through serials produced before and during the Syrian conflict that began in 2011. The question ‘what went wrong?’ preoccupies musalsal makers, and their works frequently foreground their belief that Syrian society is ‘going backwards.’ For example, in historical genres of television serials, idealized images harken back to perceived golden ages of cosmopolitanism, throwing the contemporary condition into bitter relief. Makers of dramas set in the present invert this technique, locating the sources of contemporary ills in past mistakes and historical injustices, revealed in flashback, dialogue, and voiceover. Through a technique of narrative allochrony, drama creators also highlight their understanding of modernity’s lapses, depicting select practices, mores, and attitudes as out of sync with what they see as contemporary values. These dramatic depictions of the past and present all point to a failed national project and a derailed modernity. Their creators seek to counter what they deem as a flawed political and social evolution, one that they believe has led to deterioration in the region and a devastating war in Syria.
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| 11 |
ID:
120001
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| Publication |
2013.
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| Summary/Abstract |
While a range of recent accounts have suggested developing a more contextualist conceptualization of securitization theory, few analyses have actually provided detailed operationalizations of the interplay of language, power and context in securitizations. By suggesting and specifying a way of analysing securitizing moves in relation to intertextual linkages with popular culture, this article examines such interplay in processes of securitization. In doing so, the article not only suggests a contextualist operationalization of securitization theory but also hopes to contribute to studies on discourse, intertextuality and pop culture in international relations more generally.
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| 12 |
ID:
146534
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| Summary/Abstract |
Thai grassroots activists known as ‘redshirts’ (broadly aligned with former prime minister Thaksin Shinawatra) have been characterised according to their socio-economic profile, but despite pioneering works such as Buchanan (2013), Cohen (2012) and Ünaldi (2014), there is still much to learn about how ordinary redshirts voice their political stances. This article is based on a linguistic approach to discourse analysis and builds on Fairclough’s (2003) arguments concerning the ways in which speakers use intertextuality and assumption to construct social and political difference and consensus. It specifically explores redshirt understandings of democracy by examining intertextuality and presupposition through various linguistic strategies. It sets out to answer these questions: What are grassroots redshirt protesters’ understandings of democracy? How do they articulate those understandings verbally? The study is based on an analysis of 12 interviews conducted in 2012 with grassroots redshirts from Ubon Ratchathani, Thailand. It shows how informants voiced notions of democracy by making explicit intertextual references and alluding to implicit meaning through presupposition. The results show that informants had a definite understanding of democracy despite a degree of contradiction, confusion and ambiguity. They also attempted to communicate political beliefs despite limits on their freedom of expression.
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