1,721,004 research outputs found
Intertextuality in Travel Writing: Shaping Identity through Textual Relations in Travelogues by Karl Philipp Moritz and Mary Shelley
No full textIn modern travel writing, questions of identity (as well as alterity and similarity) are often central. The identities in question include that of the narrator/traveller and those of the people encountered on the journey: other travellers or natives – i.e. travellees, a term coined by Mary Pratt (1992) and further developed by Wendy Bracewell (2015). The latter are often depicted as ‘other’. Importantly, the identities of the intended and actual readers also form part of this network.
In travel writing, different textual strategies are applied to depict, shape and perform these identities. Alongside devices such as literary multilingualism and intermediality, one such strategy is intertextuality, i.e. the inclusion of concrete references to other texts (and authors), but also the complex network of texts that is evoked by the trave-logue and in the process of reading travelogues. In what follows, I argue that these references to and quotations from other texts are used to create, describe and represent identity in travel writing.
I focus on the interplay between intertextuality and (collective and individual) iden-tity discourses in two examples of European travel writing from the late 18th and mid-19th centuries – the heyday of the genre – namely Karl Philipp Moritz’s Reisen eines Deutschen in England im Jahre 1782 (1783) and Mary Shelley’s Rambles in Germany and Italy (1844).
Intertextual references in these two travelogues are used for diverse purposes: Moritz employs various forms of intertextuality and intermediality in his travelogue to posi-tion himself as an informed and educated traveller who is familiar with the English language and English literature, situating himself as an intermediary for his readers. Shelley, on the other hand, uses intertextual references to express her solidarity with the Italians and their fight for independence. In addition, she uses them to point out histor-ical connections and to remember history through literature.
Both authors use what I would like to call multilingual intertextuality; that is, they practise code-switching and give (some of) their references in other languages – English in Moritz’s case and Italian in Shelley’s
Trauma and Literary Multilingualism. Introduction to the special section
No full textIntroduction to the special section on trauma and multilingualism in literature, co-edited by Marianna Deganutti and Sandra Vlasta and published in the journal Polyphonie
Zwischenfälle. Anna Babka, Renata Cornejo, Sandra Vlasta (Hgg.): Begegnungen und Bewegungen: Österreichische Literaturen. "Aussiger Beiträge" 8 (2014)
Full text linkRezension zu: Anna Babka, Renata Cornejo, Sandra Vlasta (Hgg.): Begegnungen und Bewegungen: Österreichische Literaturen. "Aussiger Beiträge" 8 (2014) (review
Polyphonie – Mehrsprachigkeit und literarische Kreativität.
No full textThe anthology “Polyphonie” (“Polyphony”) embraces the first results of the research project “Mehrsprachigkeit und literarische Kreativität” (“Plurilinguism an literary creativity”) and investigates the many and diverse connections between multilingualism and creativity in writing systematically and from an interdisciplinary perspective (Biography Studies, Plurilinguism Research, Applied Linguistics, Neurolinguistics, Literature, Comparative Studies, Hybridity Studies). The aim of the project is to explore the more or less close relationship between individual/social plurilinguism and creativity in general, and in particular literary creativity
Mehrsprachigkeit in der Literatur. Das probeweise Einführen neuer Spielregeln
No full textThis volume brings together 12 contributions that focus on various aspects of literary multilingualism. The potential of multilingual texts to renew literary forms is analyzed. Literary translation strategies as well as moments of intertextuality and intermediality form a further focus. Finally, the contributions shed light on linguistic images and composites that are transferred from other languages or newly formed. What all these writing processes have in common is that they question linguistic automatisms – thus opening up critical perspectives on linguistic forms and content as well as on the materiality of language. Conventional language rules are critically examined, rethought, transgressed or turned upside down in a playful way – multilingual texts thus expand the set of rules of the game.
The contributions examine these writing practices in the works of Albert Drach, Johann Wolfgang von Goethe, Kurt Lanthaler, Klaus Modick, Karl Philipp Moritz, Herta Müller, Jean Paul, Yael Ronen, Yoko Tawada, Vladimir Vertlib, Olivia Wenzel, Uljana Wolf and Stefano Zangrando.Der Band versammelt 12 Beiträge, die verschiedene Aspekte literarischer Mehrsprachigkeit in den Fokus rücken. So wird das Potenzial mehrsprachiger Texte zur Erneuerung literarischer Formen analysiert. Literarische Übersetzungsstrategien sowie Momente der Intertextualität und Intermedialität bilden einen weiteren Schwerpunkt. Schließlich beleuchten die Beiträge Sprachbilder und Komposita, die aus anderen Sprachen übertragen oder neu gebildet werden. Gemeinsam ist all diesen Schreibverfahren, dass sie sprachliche Automatismen hinterfragen – dadurch eröffnen sich kritische Perspektiven auf sprachliche Formen und Inhalte sowie auf die Materialität von Sprache. Konventionelle Sprachregeln werden kritisch untersucht, neu gedacht, überschritten oder auf den Kopf gestellt und das auf eine spielerische Weise – mehrsprachige Texte erweitern somit das Set der Spielregeln.
Die Beiträge untersuchen diese Schreibpraktiken bei Albert Drach, Johann Wolfgang von Goethe, Kurt Lanthaler, Klaus Modick, Karl Philipp Moritz, Herta Müller, Jean Paul, Yael Ronen, Yoko Tawada, Vladimir Vertlib, Olivia Wenzel, Uljana Wolf und Stefano Zangrando
Die Engländer sind eine Plage‘. Der Blick auf (andere) Italienreisende in Reiseberichten von Fanny Lewald und Charles Dickens
No full text
Going Beyond Counting First Authors in Author Co-citation Analysis
Full text linkThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Variations on the Author
Full text link“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
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