Cet article propose deux mises à l’épreuve d’une modélisation du rôle du contexte dans l’interprétation des actes de parole. Selon notre modèle, les processus interprétatifs se déroulent généralement à partir d’hypothèses contextuelles sur le genre de discours pratiqué par le ou les énonciateur(s) du texte. Ces hypothèses sont activées à l’aide d’indices pluri-sémiotiques péritextuels et textuels. Un intertexte générique est alors mobilisé et oriente les processus interprétatifs, en particulier s’agissant de l’attribution des valeurs illocutoires et interactives probables des actes (...) de parole. La récurrence de ces valeurs constitue en retour des indices potentiels du genre de discours en cours. La première mise à l’épreuve de ces hypothèses s’appuie sur l’analyse « globale » de trois corpus : vingt-quatre interactions télévisées, leur péritexte et le péritexte des émissions les incluant. Cette analyse nous a permis d’observer des correspondances entre différentes configurations lexicales et morphosyntaxiques et quatre schémas d’actes de parole mis en évidence dans une précédente recherche. Dans un second temps, nous mettons en évidence certaines incidences interprétatives plus « locales » des prescriptions génériques, à l’aide d’une analyse des parcours probables de nos interprétations au palier de la période. (shrink)

Este trabajo se propone estudiar las características de los paralogismos de composición y división (Retórica II 24.II, 1401a), de la consecuencia (Retórica II 24.VI, 1401b20-30) y de la causa aparente (Retórica II 24.VII, 1401b30-34), de modo de analizar si Eurípides los utiliza en el agón de Andrómaca de los versos 577 a 746 This paper intends to study the characteristics of paralogisms due to composition and division (Rhetoric II 24.II, 1401a), due to consequent (Rhetoric II 24.VI, 1401b20-30), and due to (...) false cause (Rhetoric II 24.VII, 1401b30-34), in order to analyze if Euripides uses them in the agon in Andromache (577-746). (shrink)

In one of his last published interviews before his death in 2001, Pedro Laín Entralgo expressed his admiration of Zubiri for his expertise in the latest philosophy and science without sacrificing his religious faith.1 Faith and cognition harmonize in Zubiri’s posthumously published course Estructura dinámica de la realidad,2 a work valuable for understanding his evolution as a whole. EDR incorporates much doctrinal material employed previously, as well as ideas to be developed in subsequent works. It belongs to the period of (...) Sobre la esencia ,3 yet points in the direction of Inteligencia sentiente.4 Having translated EDR to English, tried to paraphrase its less transparent passages, and annotated all its references to proper names, I have unexpectedly come into possession of unexplored keys to Zubiri’s cognitive insights. Further, in the learning process, I have found palpable errors in transcription from the oral to the written version of the work. However, these mistakes come as no surrprise in view of the great difficulties that Zubiri’s text obviously presented to its first editor, Diego Gracia Guillén, and has continued to present to me, as its second; for Zubiri’s course spans a dauntingly wide variety of fields: ontology, classical physics, topology,special and general relativity, quantum mechanics, astro-physics, embryology, paleoanthropology, philosophy of society, and philosophy of history. He joins Aristotle, Leibniz, Locke, Kant, and Hegel in commanding multiple disciplines of his times. Stimulated by criticism of Sobre la esencia as excessively static in its approach to being,5 Zubiri elaborates a philosophy of becoming in EDR, and the theme in itself requires cross-disciplinary study. The conceptual tools he has at hand come to him via two main sources: his background in philosophy and theology, acquired at the Madrid Seminary where he studied between 1915 and 1919, as well as his philosophy studies in Louvain and Rome; and his acquaintance as of 1919 with Ortega y Gasset,6 who unlocked to him contemporary Germanic philosophy and science. I shall discuss in order [1.] Zubiri’s debt to Scholasticism in EDR, [2.] contributions of Ortega to EDR, and [3.] the consequent Aristotelianism of EDR in nearly all its parts: Aristotle guides Zubiri in directions enabling him to correct the Stagirite with the latest philosophy and material science available to him so as to elaborate his own metaphysics of dynamism. (shrink)

This article argues that the literary contexts of Horace's Odes 3.13, especially archaic Greek poetry, have been relatively neglected by scholars, who have focussed on identifying the location of the fons Bandusiae and on understanding the significance of the sustained description of the kid sacrifice. This study presents a more holistic interpretation of the ode by exploring Horace's interactions with previously unnoticed (Alcaeus, frr. 45 and 347) and underappreciated (Hes. Op. 582–96) archaic Greek poetic intertexts, which also offer a fresh (...) perspective on earlier debates. Horace's use of Alcaeus’ fr. 45, a key intertext, firmly places the fons Bandusiae within the literary landscape of Horace's Sabine estate, and offers a structural and argumentative model for Odes 3.13; further, Alcaean and Hesiodic allusions also suggest that the kid is sacrificed as a surrogate for Horace for keeping him safe. These conclusions are used to offer a new interpretation of the ode on metapoetic, political and philosophical levels, and to explore how these different aspects of the ode interact with Horace's other odes. (shrink)

This paper comments on the tension between constant imitatio and refused aemulatio gloriae in Tiberius’ attitude towards Augustus in Velleius Paterculus’ History. I argue that Tiberius is equalling and eventually even surpassing Augustus precisely because he refuses to compete with him, let alone surpass him. In order to do so, I focus on two hitherto neglected Augustan intertexts, which are referenced at very distinct moments of Velleius’ portrayal of Tiberius. The first is the moment when Tiberius appears on the political (...) stage at the age of 19 ; the second is the last mentioned event of his life before he succeeds Augustus, namely his third triumph in ad 12. (shrink)

Twenty-five years after his death, critics and academics, film-makers and journalists continue to argue over Sartre's legacy. But certain interpretations have congealed around his iconic text Nausea, tending to confine it within the framework provided by the later philosophical work, Being and Nothingness. This volume opens up the text to a range of new approaches within the fields of English and Comparative Literature, as well as Philosophy and French Studies, under the headings: 'Text', 'Context', and 'Intertext' the textual strategies at (...) work within the novel; the literary, cultural and philosophical context of its production; and the intertextual web within which it is situated. This volume will interest a wide public of teachers, students and all those who want to reconsider Sartre's legacy in the twenty-first century. (shrink)

Courier poetry is perhaps the richest and most vital literary genre of premodern South Asia, with hundreds of poems in a great variety of languages. But other than dubbing these poems “imitations” of Kālidāsa’s classical model, existing scholarship offers very little explanation of why this should be the case: why poets repeatedly turned to this literary form, exactly how they engaged with existing precedents, and what, if anything, was new in these many poems. In hopes of raising and beginning to (...) answer such questions, this essay closely examines one such work, the Haṃsasandeśa of Vāmana Bhaṭṭa Bāṇa, and its close correspondence with two important intertexts: Kālidāsa’s Meghasandeśa and Vedānta Deśika’s Haṃsasandeśa. I argue that Vāmana Bhaṭṭa Bāṇa’s work is an intricate mosaic that is put together from pieces—both absences and presences—that are taken from both these poems and that make sense only if we are familiar with their sources, and that this mosaic is nonetheless a surprisingly new and independent statement. On the basis of this analysis, I go on to suggest that novelty in the genre is partly made possible precisely through dense engagement with the vocabulary, figures of speech, situations, and other building blocks of the intertexts, a practice that often results in a heightened mode of density. (shrink)

Nineteenth-century literary criticism read literature as a commentary on the world it inhabited. Thecommentators understood what they read in terms of the judgments and values they registered in it, andwhich they themselves, as commentators, as critics, made explicit - as if, somehow, the literary textunder investigation always fell short in this regard. Their criticism, then, took up, or extended, theintention of the texts they engaged, as they understood it: to say something significant about the world.In this climate, the literary object, (...) as literary, scarcely existed. Where successful, it was a transparency,in itself barely visible, so well did it convey a world.This is, briefly, the caricature of this period of literary criticism produced by those polemicists who,coming after, were keen to situate themselves in the vanguard of a new critical method. (shrink)

This article is the first of three on the relationship between the Sayings Gospel Q and the ancient concept of 'psychostasia,' which is the ancient notion that a divine or supernatural figure weighed people's souls when judging them. The ultimate goal of all three articles is to enhance our understanding of Q 6:37-38, as well as of the Q document as a whole. In the current article, attention is focused on intertexts from the Old Testament, and the occurrences therein of (...) the word 'measure' and the concept of 'psychostasia'. The implications of these results for our interpretation of Q 6:37-38 are briefly noted. A second (future) article will focus on intertexts in apocryphal and pseudepigraphical writings from Second Temple Judaism dealing with 'psychostasia'. A third study will ultimately spell out in more comprehensive detail the implications of the foregoing intertextual investigations on both our understanding of Q 6:37-38 and our understanding of the Sayings Gospel Q as a whole. (shrink)

The paper raises the theoretical question of the cultural mediational nature of literary intertexts from the point of view of generic and transformational dynamics. The intertextual complex as mediational operator is examined at two levels – (1) in the context of cultural diachrony by observing how the literary work establishes its place in the history of literature closely connected to the metapoiesis of the text; (2) at various kinds of intratextual interlevel movements regulating the evolution of a whole intertextual system (...) within the work. Differentiating the ontological, generative and transformational conceptualization of intertextual poetics, an attempt is made to define the basic textual modes of the pretext, the intext and the intertext by describing their functionality in the building of an intersemiotic literary system. The relevant functions are grasped by shedding light upon the types of the sign of which the given signifying structures consist (here a terminological clarification and re-evaluation are added) and their textual semantics in terms of referential and relational quality (cf. the different versions of referential and relational semantics). In the first place, however, the paper aims at outlining the structure and content of the generic-transformational semiotic processes in which the dynamic aspects of intertextual semiosis are revealed. Within this framework, the processuality of the development of the intertextual signifying structure iselucidated, shown as a chain of reciprocal sign activities resulting in constantly evolving semantic shifts within the intra- and intertextual semiosis processes, all relying on mediational operations. Text examples are taken from and references made to works by A. S. Pushkin, I. S. Turgenev, F. M. Dostoevsky and J. M. Coetzee. (shrink)

This paper draws on Juvenal's intertextual relationship with comedy to solve a textual crux involving fish-names. The monograph by Ferriss-Hill will no doubt warn scholarship away from the treatment of Roman satire's intertextuality with Old Comedy for a time. Yet, Greek comedy's influence on Roman satire is far from exhausted, and this paper will show that this influence goes more widely, and more deeply, than is usually seen. In time, one might hope for a renewed monographic treatment of the subject.

Commentators since antiquity have seen connections between Virgil's Dido and the philosophy of the Garden, and several recent studies have drawn attention to the echoes of Lucretius in the first and fourth books of the Aeneid. This essay proposes that there is an even richer and more extensive Epicurean presence intertwined with the Dido episode. Although Virgilian quotations of Lucretius provide the most obvious references to Epicureanism, too narrow a focus on the traces of the De Rerum Natura obscures important (...) resonances with Virgil's more obvious models: the Odyssey and Apollonius' Argonautica. Reversion to Homer and Apollonius, however, does not dim the Epicurean aura around Dido. Rather: echoes of Nausikaa and other Phaeacian traditions reinforce Dido's links with the Garden. At play here is a widespread ancient tradition of disparaging Epicurus by calling him "the Phaeacian philosopher." But by evoking this tradition, Virgil is not necessarily engaging in a standard polemic against the Epicureans. Instead of foreclosing any particular reading, the intertextual modes of the Aeneid turn various possibilities of interpretation over to the reader. (shrink)

In a fifty-two–line interpolation appearing towards the end of many Romance of the Rose manuscripts, the narrator compares the female image over the entry to the tower of Jealousy—the one at which Venus fires her burning arrow—to the head of Medusa. This passage entered the Rose manuscript tradition in the late thirteenth or early fourteenth century, possibly within the lifetime of Jean de Meun; it recurs throughout the fourteenth and fifteenth centuries. A reading of the Medusa interpolation raises the important (...) critical issue of significant variants in a manuscript tradition and the evidence they offer for a medieval reading of the text in question. A close examination of the Medusa passage expands our understanding of the reception of the Rose during the twenty or thirty years immediately following the completion of Jean de Meun's continuation. An inquiry into the relevance of Medusa to the Rose, and in particular to this moment in the Rose, helps us to appreciate something of what the poem may have meant for its first readers. As I will show, the Medusa passage participates in a larger mythographic program extending throughout the conjoined Rose, exploring the nature of feminine sexuality and its effects on men. (shrink)

Un des enjeux actuels du traitement sémantique des corpus textuels concerne la nécessaire tentative de contrôle et d’objectivation de l’intertexte. Les corpus réflexifs, que nous définissons dans cet article, poursuivent cette exigence d’objectivation et de mise en forme des ressources sémantiques et interprétatives, en se proposant d’être, dans la mesure du possible, des tout-textuels sémantiquement auto-suffisants – c’est-à-dire des univers interprétatifs clos, définis parmi d’autres – pour une exploitation certes pas exhaustive, mais raisonnable et raisonnée du texte.

This paper examines how semiotics, in conjunction with hermeneutics, can illuminate the structure of James Joyce's 'Ulysses' as a literary text. The paper begins with an account of two poet-critics who examined Joyce's novel in terms of classical myths and literary precedents. A crucial turning-point in the essay occurs when Jean Michel Rabate's Lacanian reading of the novel is introduced to clarify Joyce's use of the "signifier of absence" to clarify the meaning of paternity in the novel. The function of (...) the intertext is then examined, particularly in view of the relationship between Stephen Dedalus and Leopold Bloom. The conclusion of the paper shows how a dialogical reading supports the belief in a 'hermeneutical self' as part of the text's underlying meaning. (shrink)

Both in antiquity and ever since the Renaissance Lucretius' De Rerum Natura has been admired – and condemned – for its startling poetry, its evangelical faith in materialist causation, and its seductive advocacy of the Epicurean good life. Approaches to Lucretius assembles an international team of classicists and philosophers to take stock of a range of critical approaches to which this influential poem has given rise and which in turn have shaped its interpretation, including textual criticism, the text's strategies for (...) engaging the reader with its author and his message, the 'atomology' that posits a correlation of the letters of the poem with the atoms of the universe, the literary and philosophical intertexts that mediate the poem, and the political and ideological questions that it raises. Thirteen essays take up a variety of positions within these traditions of interpretation, innovating within them and advancing beyond them in new directions. (shrink)

Max Frisch, qui se dit agnostique, a très souvent recours à la Bible, tout au long de sa création artistique. Le présent article a pour but d�élucider ce paradoxe, d�analyser les différentes facettes et les étapes successives de l�interaction complexe et fructueuse entre théologie et littérature. La discussion abordera, au-delà des aspects théologiques, notamment des questions esthétiques que soulève l�intertexte biblique.

The Sixth International Round Table on Law and Semiotics, sponsored and organized by The Center for Semiotic Research in Law, Government and Economics, convened April 29, 30, May 1, 2, 1992, at Penn State-Berks. Under the general topic, Flux, Complexity, Illusion, special sessions on the following topics resulted in this wide-ranging collection of papers: Legal Semiotics Theory; Law and Literature; Law and Economics: Intertexts in Legal Semiotics; Codification, Custom and Legal Norms. These papers represent interdisciplinary inquiry that explores the assumptions (...) that a) law is a complex sign-system which dialogically interacts with other social organizations; b) law is an indeterminate and open-ended concept in both theory and practice that contributes to the process of creating and affirming social values; and c) all sign-systems are self-correcting and self-directing. (shrink)

Eco, Chopin, and the limits of intertextuality -- The appeal to structure -- On codes, topics, and leaps of interpretation -- Bloom, Freud, and Riffaterre : influence and intertext as signs of the uncanny -- Narrative and intertext : the logic of suffering in Lutosawski's Symphony no. 4.

Rousseau et l'exegese biblique du XVIIIe siecle -- Des pratiques bibliques du XVIIIe siecle a la lecture-consolation de Rousseau -- Intertextualite biblique dans l'ouvre de Rousseau -- Intertexte biblique et representation de soi -- Le Levite d'Ephraim : reecriture biblique -- Schemes de la pensee du religieux -- Ouvre de doctrine : la lettre a Christophe de Beaumont -- Etre Chretien de Jacques : les lettres ecrites de La Montagne.

_Vortex/t _undertakes a hermeneutical exploration of symbolic turbulence in many canonical works of literature and philosophy. Charles Minahen's approach is diachronic to the degree that manifestations of the symbol are addressed chronologically, but his aim is not to establish a historical linking of cause and effect, even if such connections do appear. Rather, a synchrony of the symbol is reconstructed that places each discrete example of it in a vibrant intertext of patent and latent meanings. Symbolic turbulence first emerges in (...) ancient "whirls" that display a spiral, spiro-helical, or vertical configuration and usually have cosmic or religious significance. The first significant textual examples of vertical symbolism occur in the Boulak Papyrus, the Bible, and _The Odyssey_, where the destructive connotations of the symbol stand out. For the philosophers and poets of the ancient classical period, including certain Pre-Socrates, Plato, Epicurus, and Lucretius, the vortex is a universal structuring principle, although the underlying causes vary. For Dante, the emphasis is no longer on the dynamic cosmogonic role of the whirl, but on the gradations inherent in the vertical structure itself. Descartes and Blake associated the symbol with the transcendence of a mystical vision, which involves, for the latter, an epiphanal breakthrough. In Poe, the maelstrom excites conflicting feelings of horror in the face of death and curiosity about the "novel" beyond. Rimbaud develops Blake's and Poe's fascination with a transcendent vision, but for Mallarme, the vortex-symbol is Poesque in the more negative way. Not only is it a threatening destructive force, it is the specter of death itself, relentlessly drawing the shipwrecked mariner to ultimate extinction and nonentity. By analyzing, comparing, and contrasting these salient examples of vertical symbolism, _Vortex/t _attempts to uncover and explore the dynamics of emerging and receding meanings that constitute the paradigm's complexity. (shrink)

This volume focuses on the interrelatedness of morality and language. Apart from explicit ethical statements, implicit NT moral language is analysed in three overlapping aspects based on the interpretation of concrete NT texts: an intratextual level (linguistic and analytic philosophical methods: syntactical form, style and logic), an textual and intertextual level (form criticism, discourse analysis) and an extratextual level (speech act analysis; rhetoric; reader-response criticism). With reference to analytical moral philosophy, the contributions address questions such as: Where does the ethical (...) quality of a statement come from? Which linguistic devices are used to express ethics in the NT writings? In which way does the genre of the text influence its ethical meaning? Which pre- and intertexts are part of the ethical statements, in which way does the text refer to them? Which ethical impact did and do texts have on their readers? Which linguistic and rhetorical style is used to meet the addressees? Why do we consider a text powerful or polemic? Can we speak of an implicit ethical subject in the text from a literary perspective? (shrink)

[Holbrook's] is one of the keenest and deepest critical minds in the field of Islamic literature. She provides for the reader (scholar and lay persona alike) fascinating insights into the genre, poetic functions, mystical allegory, narrative technique, audience response, etc. Many of her analyses are scintillating.... The Holbrook volume is a landmark in Ottoman literary scholarship. --MESA Bulletin... a major contribution to Ottoman and Turkish literary study--I frankly am at a loss to describe how major.... Dr. Holbrook's book will make (...) its own category and subsequent publication in the field will be judged in relation to it. --Walter G. Andrews, professor of Near Eastern Languages and Civilization, University of Washington When the Ottoman Turkish Empire was divided into modern states after World War I, in Turkey a change of alphabet and radical linguistic reform aimed to free modern Turkish literature from intellectual ties to the East. Holbrook recuperates Ottoman debates on the existential status of language and social value of art with a poetics of Beauty and Love, the philosophical fairy tale in verse by Seyh Galib. Where does language come from? How does a poet conceive imagery? What rights to interpretive authority does Muslim law accord the individual when God's word is law? Holbrook's lively analysis ranges an intertext of genres in Arabic and Persian as well as Turkish. The romance of separated lovers is a paradigm of journeys that lead beyond discourse. A poet's quest for originality reveals an archaeology of modernism. Holbrook traces the revolutionary polemic and Orientalist philology that de-aestheticized Ottoman poetry, bringing the critique of Orientalismto bear upon the Ottoman center Orientalism suppressed. (shrink)

This paper explores the poetic politics of lesbian and feminist writing, the textual violence that writing exercises and the amazon intertext it creates. In this particular essay, Jeffner Allen takes as her point of departure the writing of Hélène Cixous and Monique Wittig.

What follows is an experiment in reading practice. I propose that we read some key passages of theAeneidand theMetamorphosesin the active pursuit of acrostics and telestics, just as we have been accustomed to read them in the active pursuit of allusions and intertexts; and that we do so with the same willingness to make sense of what we find. The measure of success of this reading practice will be the extent to which our understanding of these familiar and well-studied texts (...) can be usefully enriched by our interpretation of our discoveries (or rediscoveries). These will include an undiscovered authorial signature NASO in the ‘second proem’ of theMetamorphoses; an unnoticed self-referential response to Horace with NITIDO at the centre of Ovid's epic and a similarly self-referential AVSVM at the centre of Virgil's epic; in theAeneidwe will also find glances to Aratus with LEPTE and an Aratean anagram on Aeneas’ shield; and two new acrostics connecting Dido, Ajax and Lavinia. (shrink)

The fourth choral ode in Seneca's tragedyTroadesends thus (1050–5):tum puer matri genetrixque natoTroia qua iaceat regione monstransdicet et longe digito notabit:‘Ilium est illic, ubi fumus alteserpit in caelum nebulaeque turpes.’Troes hoc signo patriam uidebunt.This ending provides a powerful conclusion to the Chorus’ Epicurean-inspired philosophizing in the ode. The image of the Trojan women ‘seeing’ (uidebunt) the ‘smoke and squalid clouds creep[ing] high into the heavens’ (1053–4) recalls the Lucretian description of the soul, atomic in nature, leaving the dead body: compare (...) especiallyet nebula ac fumus quoniam discedit in auras,|crede animam quoque diffundi …(Lucr. 3.436–7) andergo dissolui quoque conuenit omnem animai|naturam, ceu fumus, in altas aeris auras(Lucr. 3.455–6). The image and the Lucretian resonance also create an intratextual link with the second ode ofTroades(371–408). In that ode, the Chorus set out to develop a philosophical position about the question of death and the possibility of an afterlife. Their philosophizing is aided by Lucretian language and imagery, and the clear verbal echoes of Lucretius include the soul escaping into air like vapour: ‘the spirit, with fleeing breath, has mingled with the clouds and passed away into air’ (…profugo spiritus halitu|immixtus nebulis cessit in aera, 379–80), which recalls the Lucretian lines above. At the end of the fourth ode, the Lucretian intertext of the smoke image is linked to another startling element that may point to (Epicurean) philosophizing: Seneca's use ofsignum(1055). (shrink)

Victorian scriptural hermeneutics : history, intention, and evolution -- Intertext 1 : Victorian legal interpretation -- Carlyle : between biblical exegesis and romantic hermeneutics -- Intertext 2 : Victorian science and hermeneutics : the interpretation of nature -- George Eliot's hermeneutics of sympathy -- Intertext 3 : Victorian literary criticism -- Subjectivism, intersubjectivity, and intention : Oscar Wilde and literary hermeneutics.

Ce témoignage de l’artiste Pierre Magré, proche de Michel Henry, veut rappeler qu’au gré du puissant intertexte pictural qu’est l’œuvre de Kandinsky, il y a bien une volonté, chez M. Henry, de penser le « Principe même de la Création ».