The poetics of intertextuality proposed in this book, based mainly on semiotics, elucidates factors determining the socio-historically elusive border between general intertextuality and citationality, and explores modes of intertextual representation.

This collection explores and clarifies two of the most contested ideas in literary theory - influence and intertextuality. The study of influence tends to centre on major authors and canonical works, identifying prior documents as sources or contexts for a given author. Intertextuality, on the other hand, is a concept unconcerned with authors as individuals; it treats all texts as part of a network of discourse that includes culture, history and social practices as well as other literary works. In thirteen essays drawing on the entire spectrum of English and American literary history, this volume considers the relationship between these two terms across the whole range of their usage.

The study of the deliberate allusion by one author to the words of a previous author has long been central to Latin philology. However, literary Romanists have been diffident about situating such work within the more spacious inquiries into intertextuality now current. This 1998 book represents an attempt to find (or recover) some space for the study of allusion - as a project of continuing vitality - within an excitingly enlarged universe of intertexts. It combines traditional classical approaches with modern literary-theoretical ways of thinking, and offers attentive close readings, innovative perspectives on literary history, and theoretical sophistication of argument. Like other volumes in the series it is among the most broadly conceived short books on Roman literature to be published in recent years.

With essays by 13 leading scholars, this collection establishes the grounds for a new kind of poetics that considers the poetry book itself -- the concept and the material fact -- as an object of interpretation. The authors argue that the decisions poets make about the presentation of their works play a meaningful role in the poetic process and therefore should figure as part of the reading experience. The common practice of approaching poems chronologically, as they are presented in anthologies or in posthumous editions, has been fostered by the long prevailing tendency of the New Criticism to treat each poem as self-contained. This volume urges the reader to reconsider the most fundamental ways that one reads, teaches, and inteprets poetry. Moving from classical to contemporary poetry, these essays develop a literary history and theory for such a poetics, at the same time providing a generous set of models for a related practical criticism. At the heart of this collection are such issues as order, arrangement, and intertextuality. Reading poems in their place helps to return them to their historical contexts because the book itself has had a particular place in its own culture and society. Originally published in 1987. A UNC Press Enduring Edition -- UNC Press Enduring Editions use the latest in digital technology to make available again books from our distinguished backlist that were previously out of print. These editions are published unaltered from the original, and are presented in affordable paperback formats, bringing readers both historical and cultural value.

No text has its meaning alone; all texts have their meaning in relation to other texts. Since Julia Kristeva coined the term in the 1960s, intertextuality has been a dominant idea within literary and cultural studies leaving none of the traditional ideas about reading or writing undisturbed. Graham Allen's Intertextuality outlines clearly the history and the use of the term in contemporary theory, demonstrating how it has been employed in: structuralism post-structuralism deconstruction postcolonialism Marxism feminism psychoanalytic theory. Incorporating a wealth of illuminating examples from literary and cultural texts, this book offers an invaluable introduction to intertextuality for any students of literature and culture.

This volumes includes a series of 17 selected essays, preceded by a methodological introduction, whose purpose is to offer a fresh outlook on the question of rewriting-reprising. The argument, taking for granted the phenomenon of intertextuality, develops along three main axes: the first one reconsiders the already debated issue of authority on post-structuralist premises, arguing that the origin of a text is untraceable. The second looks at a phenomenon often associated with reprising, especially in a post-colonial context: trauma, whether individual or historical, in relation to creative repetition. The third axis offers a re-reading of the question of voice, introducing the notion of the textual voice, understood as that part of the enunciative act over which the author has no control. When writers make of reprising a deliberate practise, we are tempted to believe that their position, between homage and pillage, presupposes the existence of a traceable source of the literary Word. We must however face the problematic nature of enunciation, the void on which is is founded. Which leads us to the proposition that the act of reprising is a creation ex nihilo: a certain mode of organisation around that void. Besides, in a century of major man-made traumas, whose effect was the tearing up of social fabrics, reprising will assume a more complex significance: the symptomatic, repetitive stitching of what is being constantly ripped up.

This collection of essays reaffirms the central importance of adopting an intertextual approach to the study of Flavian epic poetry and shows, despite all that has been achieved, just how much still remains to be done on the topic. Most of the contributions are written by scholars who have already made major contributions to the field, and taken together they offer a set of state of the art contributions on individual topics, a general survey of trends in recent scholarship, and a vision of at least some of the paths work is likely to follow in the years ahead. In addition, there is a particular focus on recent developments in digital search techniques and the influence they are likely to have on all future work in the study of the fundamentally intertextual nature of Latin poetry and on the writing of literary history more generally.