Intratextuality

RESUMEN: Este trabajo tiene como objetivo analizar relaciones intratextuales entre las epístolas de Dido (Ep. VII) y Medea (Ep. XII), pertenecientes al corpus de las Heroidas, de Ovidio. Para ello, nos centraremos en los puntos de contacto concernientes al foedus amoris, al furor y a la muerte como desenlace de sus lamentos. Mediante este procedimiento, se demostrará que Medea, como figura ejemplar, contribuye en la configuración de Dido, no solo de forma intertextual (ya que Dido presenta rasgos de la Medea de Apolonio), sino también de forma intratextual.
Palabras clave: Dido, Medea, Heroidas, intratextualidad, ejemplaridad.

Belén MATEOS BLANCO, "De la glorieta de los fugitivos a las Aventuras e invenciones del profesor Souto: intertextualidad e intratextualidad en los microrrelatos de José Mª Merino", Artifara 20.1 (2020) Contribuciones, pp. 47-57. Recibido el 24/03/2019 · Aceptado il 25/01/2020 De la glorieta de los fugitivos a las Aventuras e invenciones del profesor Souto: intertextualidad e intratextualidad en los microrrelatos de José Mª Merino BELÉN MATEOS BLANCO Universidad de Valladolid Resumen El universo literario de José Mª Merino parte del cuento para acercarse a la novela corta y afianzarse en el microrrelato. El recorrido por sus textos narrativos nos presenta a un autor inconformista, que busca un lector activo y cómplice de cada una de sus ficciones, además de recurrente en los temas que construyen sus mundos ficcionales: la doble identidad del escritor-protagonista, el limbo entre los sueños y la realidad, la controvertida magia de los recuerdos, la fragilidad del destino etc. Merino se nutre de mecanismos intertextuales e intratextuales para conectar con sus lectores desde una doble perspectiva, la de la literatura universal y la de la suya propia, para que estos no sólo conozcan lo narrado, sino que también lo reconozcan. Desde La glorieta de los fugitivos (2007) a las Aventuras e invenciones del profesor Souto (2017) la trayectoria literaria del autor vinculada al microrrelato pasa por dos volúmenes híbridos en los que se suceden distintos escritos narrativos: El libro de las horas contadas (2011) y La trama oculta: cuentos de los dos lados con una silva mínima (2014); la variedad de textos breves que conforman cada una de estas obras dejan entrever el gusto del escritor por el uso de recursos textuales muy característicos de la minificción, así como la experimentación e investigación en el carácter proteico del género. Abstract The literary universe of José Mª Merino starts from the short story to approach the short novel and establish itself in the micro story. The journey through his narrative texts introduces us to a nonconformist author, who is looking for an active and complicit reader of each of his fictions, as well as recurring on the themes that build his fictional worlds: the double identity of the writer-protagonist, the limbo between dreams and reality, the controversial magic of memories, the fragility of fate etc. Merino draws on intertextual and intratextual mechanisms to connect with its readers from a double perspective, that of universal literature and that of their own, so that they not only know what is narrated, but also recognize it. From La glorieta de los fugitivos (2007) to Aventuras e invenciones del profesor Souto (2017) the author's literary career linked to the short story goes through two hybrid volumes in which different narrative writings occur: El libro de las horas contadas (2011) and The hidden plot: stories from both sides with a minimum silva (2014); The variety of short texts that make up each of these works suggests the writer's taste for the use of textual resources that are very characteristic of minifiction, as well as experimentation and research on the proteic character of the genre.   El universo literario de José Mª Merino parte del cuento para acercarse a la novela corta y afianzarse en el microrrelato. El recorrido por sus textos narrativos nos presenta a un autor inconformista, que busca un lector activo y cómplice de cada una de sus ficciones, además de recurrente en los temas que construyen sus mundos ficcionales: la doble identidad del escritor-protagonista, el limbo entre los sueños y la realidad, la controvertida magia de los recuerdos,

In the context generally of Conrad’s evident record of intertextuality, Frankenstein may also be something of an ur-text or to some extent a source for Conrad’s Heart of Darkness and for other Conradian productions as well.  This possibility is examined and along with it the workings of intertextuality in relation to meaning and interpretation.  A semiotic formulation of intertextuality can be beneficial for Conradian hermeneutics. The concept of intratextuality is extended to include several (and potentially or theoretically, all) texts by Conrad (and by methodological analogy, any particular author).

This study examines the structural function of the marriage-divorce theme in the second edition of Martial's book 10, which is built around the poet's decision to move back to Spain, leaving his beloved domina Rome after more than thirty years. The paper, in the wake of recent works on intratextuality and especially on the structure of Martial's books, takes into exam the book's epigrams devoted to the marriage-divorce theme, declined in satiric as well as serious way, with the aim of enlightening links between texts, which the poet sets up to increase the book's compactness and to enrich at the same time individual poems with further meaning, inside a sophisticated texture that he presents to his generic lectors, real authors of his lasting fame.

Considerando la polémica crítica suscitada por el problema de Cervantes y las religiones y el auge de los estudios de la otredad en los estudios culturales, en este trabajo analizamos el tratamiento de los musulmanes en varias obras de Miguel de Cervantes a través de una aproximación intratextual. Concretamente, estudiaremos distintas variaciones de dos temas destacados en la producción cervantina: las invasiones turcas de las costas españolas (presentes en La Galatea y en El Persiles) y el problema de los renegados, cristianos que renuncian a su fe para formar parte de los ejércitos de piratas mahometanos. De esta manera, pretendemos observar si se produce una posible evolución de pensamiento a lo largo de los años en los escritos de Cervantes o si podemos encontrar algunas constantes acerca del tema musulmán.

Ovid is today best known for his grand epic, Metamorphoses, and elegiac works like the Ars Amatoria and Heroides. Yet he also wrote a Medea, now unfortunately lost. This play kindled in him a lifelong interest in the genre of tragedy, which informed his later poetry and enabled him to continue his career as a tragedian – if only on the page instead of the stage. This book surveys tragic characters, motifs and modalities in the Heroides and the Metamorphoses. In writing love letters, Ovid's heroines and heroes display their suffering in an epistolary theater. In telling transformation stories, Ovid offers an exploded view of the traditional theater, although his characters never stray too far from their dramatic origins. Both works constitute an intratextual network of tragic stories that anticipate the theatrical excesses of Seneca and reflect the all-encompassing spirit of Roman imperium.

Plutarch’s portrayal of Gylippus is consistent both in the Moralia and in the Parallel Lives. In particular, Gylippus’ main traits clearly recall the Spartans’ virtues and vices described in the five Spartan Lives. Furthermore, the presence of Gylippus as a secondary character in the Life of Pericles and in the Life of Nicias creates a strong link between these biographies and the Lives of Lycurgus and Lysander. Different types of readers can variously actualise such intratextual connections. We can infer that the Parallel Lives require attentive readers willing to engage actively in the reading process and to interpret the narrative fruitfully, following the author’s indications embedded in the texts and activating their history recollection.

Among the apocalyptic symbols that excited the imagination of the commentators are the seven bowls from Revelation 15-16. Usually interpreters approach this imagery by looking at the Old Testament, Jewish, New Testament, or the historical-cultural setting. This article explores the seven bowls within Revelation's own symbolic tapestry. It uses intratextual analysis of Revelation's own symbolic language in order to understand the meaning of the seven plagues. The article has two parts. This first part presents the background tapestry of the seven bowls. It argues that the hymn of Revelation 15:3-4 is a key passage for understanding the plagues. Also, it analyses the terms used for the plagues, the wrath of God, and the pouring of the bowls, in order to clarify their contextual significance.

Nella complessa rete di richiami e corrispondenze interne al "Bellum civile" di Lucano il nodo intratestuale che lega i libri V e VIII del poema sembra rivestito di un ulteriore valore rispetto a quello meramente strutturale. Il riproporsi di personaggi e situazioni simili nei due libri merita attenzione in quanto, oltre a confermare la validità della scansione dell’opera in tetradi già proposta da W. Rutz nel 1950, sembra ideato con lo scopo di fornire, per analogia o per contrasto, una più approfondita caratterizzazione dei personaggi, principali e minori, del poema. Di tale funzione è rivestita la stretta corrispondenza tra due scene analoghe che hanno come protagonisti Cesare (5, 504-596) e Pompeo (8, 159-192) in dialogo con i loro timonieri. I due segmenti narrativi, simili per ambientazione, struttura e modelli poetici, si articolano in realtà come ‘omologhi a contrasto’: tramite un identico frasario e il ricorso ai medesimi stilemi il poeta mette in risalto la diversa natura dei due personaggi strutturati secondo un’opposizione speculare che ri-chiama il contrasto tra l’audacia di Cesare e l’ἀμηχανία di Pompeo su cui si fonda anche la σύγκρισις tra i due eroi che apre il poema (1, 129-157).

This paper examines the main similarities and differences in the portrayal of the minor mortal female character Polyxo in Apollonius Rhodius’ and Valerius Flaccus’ Argonautica as well as Statius’ Thebaid. In a close reading of the three epics, Polyxo is identified as the key character of the Lemnian episode. Even though she speaks only once in oratio recta and merely appears in propria persona in one section of the episode, Polyxo is the driving force of the Lemnian narrative and her words contain striking intra- and intertextual allusions which draw attention to the drastic change her character undergoes from Apollonius’ to Statius’ adaption of the myth. The comparative analysis of her character portrayal reveals a high level of intertextual engagement and shows that a full appreciation and understanding of the respective Polyxo character and its function in the Lemnian episode and the epic plot as a whole is impossible without a careful examination of its intertexts which can retrospectively affect the interpretation and create a new meaning. As Polyxo’s portrayal is inextricably linked to the depiction of the goddess Venus, the changes in her characterization are not only the result of intertextual rivalry, but they are also reflective of the use and function of the divine apparatus in the three epics under discussion.

La lecture proposée d'Illusions perdues se place sous l'égide du propos balzacien pour tenter de cerner la singularité de ce grand roman. L'approche fait place à la genèse du roman, à ses effets pragmatiques, pour saisir en quoi il relève de la « porosité généralisée » qui caractérise La Comédie humaine dans son entier puis propose de lire dans ce texte – qui est aussi le « roman de David Séchard » – un ultime rêve balzacien.

http://www.romanischestudien.de/index.php/rst/article/view/110/378

Manipulations and alterations of facts are embedded in the artful narrative of Julius Caesar’s de bello Gallico. The modifications of reality are developed according to the author’s self-praising and apologetic aim. The stylistic organisation supports such alterations through an artful use of syntactic dispositions, figures of speech, sound figures and rhetorical instruments. This paper analyses the author’s manipulations in his account of the expedition against the Nervi (BGall. II 15-28). This section results deeply altered to make Caesar appear in a favourable way in the eyes of the reader. A close reading and a rhetorical analysis of chapters 18-25 show the narrative strategies and rhetorical instruments Caesar employed to alter the account of events. The investigation of the ethnographical digression (II 15) shows how the military skills of the Nervi are exaggerated to provide a justification for the difficulties faced during the battle; the amplification of the risks caused by the forests and the fortifications in the battlefield (II 16-17) goes in the same direction. An inter- and intra-textual analysis finally reveals how the account of the fight (II 19-28) is built up according to Caesar’s self-aggrandising aim.

ENGLISH: This article discusses the dispositio of Ep. 1 (from Penelope to Ulysses) and Ep. 14 (from Hypermnestra to Lynceus) in the transmitted corpus. The purpose is to demonstrate that the epistles 1 and 14, due to the paradigmatic features of the women who write them, are key elements in the opening and closure in the sequence of mythological exempla on women’s behaviour in a love relationship. Plus, we will discuss how Canace, Ep. 11, assumes – intratextually – virtues of the two exemplary women for herself to argue her own defense. By admitting her mistakes, she emphasizes the importance of virtues such as castitas, pudicitia and pietas, best represented in the corpus by Penelope and Hypermnestra.

ESPAÑOL: El objetivo de este artículo es justificar la dispositio de las Ep. 1 (de Penélope a Ulises) y 14 (de Hipermestra a Linceo) en el corpus transmitido en la actualidad. El propósito es demostrar que las epístolas 1 y 14, gracias a las características paradigmáticas de las mujeres que las escriben, son llaves de apertura y clausura de una secuencia de exempla mitológicos sobre el buen comportamiento de la mujer en una relación amorosa. Además, discutiremos cómo Cánace, en la Ep. 11, se apropia intratextualmente de las virtudes de estas dos mujeres ejemplares para argumentar en su propia defensa. Al admitir sus errores, enfatiza la importancia de virtudes como la castitas, la pudicitia y la pietas, mejor representadas en el corpus por Penélope e Hipermestra.

In this article we study the prayer of Jimena in its Romance context, paying a special attention to the mention of santa Susana. This reference is included in a group of biblical characters that Rodrigo’s wife mentions in her prayer, and it recalls divine omnipotence and mercy. By means of this strategy, the poet establishes different connections among these characters, and the situation and characterization of Rodrigo, the object of the prayer. Therefore, considering on the one hand these connections and on the other hand the numerous echoes, analogies and premonitions of which the Castilian poem is composed, it is possible that the mention of the chaste Susana may prefigure La afrenta de Corpes, an episode to which it bears a significant resemblance.

The embedded narrative of Adrastus (Stat. Theb. 1. 577–668) is full of verbal repetition and is echoed in later parts of the epic, especially the Nemean episode (Theb. 4–6). This paper investigates these intratextual parallels and tries to pin down the effects of these echoes. The verbal repetition highlights motifs that play an important role in the Thebaid as a whole and connects characters, events, motifs and episodes. This intratextuality sometimes creates unity, sometimes — contrarily — discontinuity or ambiguity. This article is a case study of Statius’ intratextual poetics, a field that has thus far received little attention in scholarship on the Thebaid.

This essay explores how Anne Carson’s Decreation: Poetry, Essays, Opera (2005) engages with the notion of authorship by reappropriating critical voices and rewriting central ideas. It accordingly takes Carson’s alleged name-dropping as a starting point to argue that Decreation is a project of re-engagement that is underpinned by synthetic disjunctions of competing viewpoints. To this end, Carson relies on the principle of intratextuality, which instils a blurring of the speaker’s identity in the reader, while her use of echoes ingrains the notion of decreation in the reader's mind. Since both aesthetic strategies hinge on the principles of creative reproduction and recognition, they are capable of evoking a sense of iteration. In this way, Carson’s collection instigates a critical re-evaluation of the notion of agency in literary production while still providing the reader with an—albeit paradoxical—centre of conceptual gravity, which is therefore better conceptualized as a network of relations.

For many readers of the Punica, Hannibal’s portrayal represents an amalgam of or even a conflict between  Silius’ historiographical and epic influences.  For some others, it rather serves or reflects the poet’s strenuous endeavor to reconcile the Carthaginian general as an historical figure with outstanding models of epic heroism such as Homer’s Achilles.  At the same time, Hannibal’s unrelenting struggle against the Romans brings him closer to other ‘exemplary villains’ of Roman literary tradition such as Sallust's and Cicero's Catiline, Vergil's Mezentius, Lucan's Caesar, Statius’ Capaneus and Seneca's Atreus.  Thus, as the recent study of Claire Stocks (2013) further illustrates, we are confronted here with probably the most ‘intertextual’ hero in Flavian epic, whose poetic incarnation is repeatedly crossing genre‒boundaries.
On the other hand, discussion about Silius’ attempt to reconstruct Hannibal’s figure in his work may acquire a new interpretative twist, and actually a more ‘intratextual’ one, if viewed through a more philosophical perspective, as the text itself seems to be inviting us to do. So far, the intratextuality of the Punica has been found at the core of many critical studies and theories examining the thematic links between individual books or episodes in order to identify the epic’s larger structure.  Taking ira as an intratextual ‘marker’ of generic identity, structure, characterization and plot since the wrath of Achilles in the Iliad, this paper will further apply Seneca’s theory on anger as a tool first to ‘compartmentalize’ the text of Punica 1‒2 into small ‘Stoic chunks’ and then try an alternative, more ‘unified’ reading of the ‘anger motif’ in these two books.  Given that for many readers Silius’ narrative of the fall of Saguntum constitutes an ‘epic within the epic’,    such a ‘case study’ may help us reconsider the poem’s Makrostuktur in view of the moral climate in which Silius actually began to write his epic or, at least, conceived it.

In contrast to the many past suggestions that the prayer of Jonah be excised from the book of Jonah as a later interpolation, this paper investigates the contribution that the prayer, and chapter 2 as a whole, makes to the book of Jonah. By considering both structural and thematic levels, and by referring to some inter-and extratextual relations of the book, it is argued that a thorough understanding of Jonah 2 contributes to the message of the book as a whole.

This is the second part of an intratextual analysis that explores the seven bowls within Revelation’s own symbolic tapestry. It uses Revelation’s own symbolic language in order to understand the meaning of the seven plagues. This part focuses on the description of the bowls and also on the pouring out of the wrath of God through the first four bowls. In the first bowl, the earth-dwellers are directly affected by the sore plague, which torments them. In the second bowl, the economic infrastructure of Babylon, represented by the sea, is destroyed. In the third bowl, the power infrastructure of Babylon and its source, represented by the rivers and the springs of waters, is destroyed. In the fourth bowl, the light of witness, which is attacked so virulently by the evil triad and their followers, turns against the people revealing their unwillingness to repent. As such, the elements judged in the first four bowls point to the human support given to the persecuting powers of Revelation 12-13.

ABSTRACT In this article it is suggested that the title, the incipit and the excipit of Proust’s novel À la recherche du temps perdu be treated as an integrated structure of “thresholds” and that a distinction be made between “paratextual” (title) and “intratextual” (incipit,excipit) thresholds, which would not be possible if Genette’s theory of literary works thresholds were followed, as, according to this theory, thresholds are by definition paratextual. The translation of these thresholds are studied in some twenty five different translations, representing seven Germanic (Swedish, Danish, Norwegian, Icelandic, English, German, Dutch) and five Romance (Italian, Catalan, Spanish, Portuguese, Romanian) languages. It is further suggested on the basis of the translation of these para- and intratextual thresholds that the first (and so far only complete) Swedish translation (by Gunnel Vallquist) and the first English translation (by Scott Moncrieff) seem to confirm the “retranslation hypothesis”, as these translations appear to be relatively more target-oriented than source-oriented. SAMMANFATTNING Att översätta är en komplex verksamhet, särskilt om man söker att till andra språk och kulturer överföra magin i ett av världslitteraturens stora verk som Marcel Prousts roman À la recherche du temps perdu. Några aspekter av denna komplexitet – som käll- och målspråksinriktad översättning i förhållande till språksystemskillnader, till ”nyöversättningshypotesen” och till universella översättningstendenser – undersöks i denna artikel med exempel från olika översättningar till sju germanska och fem romanska språk av titeln på Prousts roman, av romanens incipit (första mening) och av dess excipit (sista mening). Romanens yttre, paratextuella (titel) och inre, intratextuella (incipit, excipit) ”trösklar” har valts för att de bildar en enhetlig struktur hos Proust, nära knuten till verkets övergripande litterära betydelse som en roman om den förlorade och återfunna tiden. Hur de olika översättarna återskapat koherensen i detta integrerade system av ”trösklar” skärskådas också.

This paper was originally published in 2008. It provides a structural analysis of Aeneas' journey from Troy to Cumae in books 3 to 6 of the Aeneid, based primarily on the combined recurrence of motifs, phrases and scenes. In doing that, it shows that Aeneas' journey unfolds in a sequence that repeats itself in a cyclic fashion.

Despite the importance of the intratextual relationships between the books 5th and 8th of Lucan’s Bellum civile, the complex network of references and internal correspondences between the two books has not been specifically investigated. Nevertheless, it plays an important role not only in terms of the poem’s structure, as it brings further evidence to support its scan in tetrads, but also at the level of the character system, as it is a useful tool to better understand its specific characteristics. This is especially evident in the close correspondence between two similar scenes where Caesar (5, 504-96) and Pompey (8, 159-92) dialogue with their helmsmen. The two narrative segments – similar in setting, structure and poetic models – are articulated as “contrasting homologues”: through a similar phrasebook and identical stylistic features, the poet highlights the different nature of the two characters structured according to a specular opposition which recalls the opening σύγκρισις between the two heroes (1, 129-57) where the poet highlights the contrast between the Caesar’s audacia and Pompey’s ἀμηχανία.

El presente artículo sondea la intertextualidad entre la comedia "Los prodigios del amor" (1619) y "Polidoro y Aurelia" (1620), novela corta en verso, ambas de Alonso Jerónimo de Salas Barbadillo. En concreto, tras resaltar las afinidades argumentales que las vinculan, se evidencian sus mayores diferencias. Valiéndonos de la terminología de Genette, se examinan aquí las transformaciones acometidas para reescribir y adaptar la historia de los amantes napolitanos a la gramática de un relato en octavas.

Widely diverging views are expressed with regard to the interpretation of Psalm 126. The hypothesis of this study is that exegetes are often influenced by factors which lie outside the text when they interpret the psalm. What is proposed here is a shift of emphasis towards the text itself. A reconsideration of exegetical strategies, especially with regard to poetic texts is proposed. By means of an analysis of Psalm 126 the theory is tested. The aim of the paper is to provide the exegete with a text-based and text-orientated framework, which will guide him/her through the maze of opinions and lead him/her towards his/her goal, namely the interpretation of a poetic text.

The thesis seeks to ascertain contextual meanings for several low-frequency lexemes in the Peshitta Gospels. It proposes that intratextual exegesis can benefit lexicography, especially in cases where meanings given in current lexicons are unclear in regards to the contexts upon which such meanings are based.

An exegetical methodology is developed that defers the study of social backgrounds and instead prioritises narrative context for examining Gospel lexemes.
The thesis grew from an evaluation of the ‘convulsive’ meaning given in KPG for the Peal of ܚܒܛ (Mk: 9:18, 20).

Twelve low-frequency Syriac lexemes are examined: ܢܳܪܓܳܐ (Mt 3:10//Lk 3:9); ܝܘܽܕ (Mt 5:18); ܣܶܪܛܳܐ (Mt 5:18); ܩܰܛܺܝܢܳܐ (Mt 7:14); ܢܶܩܥܳܐ (Mt 8:20//Lk 9:58); ܡܶܕܪܳܐ (Mt 13:5); Peal of ܫܘܚ (Mt 13:5); Peal of ܥܨܒ (Lk 10:34); Peal of ܚܒܛ (Mk: 9:18, 20); Ethpaal of ܒܥܩ (Mk 9:20); Peal of ܫܚܩ (Mk 9:26; Lk 9:39); and Pael of ܡܥܣ (Lk 9:42).