Deborah H. Roberts
- Published in print:
- 2010
- Published Online:
- September 2010
- ISBN:
- 9780199559213
- eISBN:
- 9780191594403
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199559213.003.0017
- Subject:
- Classical Studies, Literary Studies: Classical, Early, and Medieval
This chapter is concerned with the many translations of Antigone from 1900 to the present, and with some of the ways in which these diverse translations establish for the reader without Greek the ...
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This chapter is concerned with the many translations of Antigone from 1900 to the present, and with some of the ways in which these diverse translations establish for the reader without Greek the normative Antigone against which more radically transformed Antigones will be seen. It investigates selected aspects of text, paratext, and intertext, exploring translators' variously and subtly transformative choices as conditioned by their approach to translation, their choice of form and level of diction, and their interpretation both of the play as a whole and of particular passages. The chapter concludes by noting several features in the most recent translations that tend to enable a reading that is more aware of the relation between original and translation and between translation and reader.Less
This chapter is concerned with the many translations of Antigone from 1900 to the present, and with some of the ways in which these diverse translations establish for the reader without Greek the normative Antigone against which more radically transformed Antigones will be seen. It investigates selected aspects of text, paratext, and intertext, exploring translators' variously and subtly transformative choices as conditioned by their approach to translation, their choice of form and level of diction, and their interpretation both of the play as a whole and of particular passages. The chapter concludes by noting several features in the most recent translations that tend to enable a reading that is more aware of the relation between original and translation and between translation and reader.
Kathryn Sutherland
- Published in print:
- 1997
- Published Online:
- October 2011
- ISBN:
- 9780198236634
- eISBN:
- 9780191679315
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780198236634.003.0001
- Subject:
- Literature, Criticism/Theory
Why the debate about the electronic representation of text is so vital has less to do with what electronic technology really does and more to do with the fact that it furthers the impossibility of ...
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Why the debate about the electronic representation of text is so vital has less to do with what electronic technology really does and more to do with the fact that it furthers the impossibility of textual, literary, and cultural critics assuming and defending the separateness of their activities: electronic representation enacts the inclusiveness of text. The fact of electronic text is necessarily part of that renewed interest in what text is which has characterised cultural and literary debate. For Roland Barthes, ‘text’ signifies a redistribution of control from the object to the activity. For Julia Kristeva, ‘intertext’ extends the properties of text codes which are social and not necessarily written or printed. What is woven as text can be material and ideological across a wide range.Less
Why the debate about the electronic representation of text is so vital has less to do with what electronic technology really does and more to do with the fact that it furthers the impossibility of textual, literary, and cultural critics assuming and defending the separateness of their activities: electronic representation enacts the inclusiveness of text. The fact of electronic text is necessarily part of that renewed interest in what text is which has characterised cultural and literary debate. For Roland Barthes, ‘text’ signifies a redistribution of control from the object to the activity. For Julia Kristeva, ‘intertext’ extends the properties of text codes which are social and not necessarily written or printed. What is woven as text can be material and ideological across a wide range.
Margaret Topping
- Published in print:
- 2000
- Published Online:
- October 2011
- ISBN:
- 9780198160083
- eISBN:
- 9780191673771
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780198160083.003.0002
- Subject:
- Literature, European Literature
The principal features to have emerged in the exploration of both classical and mythological, and Christian and biblical figures of speech in A la recherche underscore Proust's totality of vision and ...
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The principal features to have emerged in the exploration of both classical and mythological, and Christian and biblical figures of speech in A la recherche underscore Proust's totality of vision and reveal the extent to which these sources are intertwined. Both Christian and mythological narratives are introduced in most thematic areas, and each intertext fulfils distinct, but interdependent, functions within a narrative evolution which is at times cyclical, at times sequential, and at times diffusely organic. Duality and disguise are the threads which bind them all together. Dualities of perspective create a tension between imagination and reality that is only sharpened by Proust's dramatization of the dualities of nature which suffuse the metaphorical structure of the novel. Above all, Christian and mythological texts provide the language of both comedy and tragedy in the novel, and more often a fusion of the two.Less
The principal features to have emerged in the exploration of both classical and mythological, and Christian and biblical figures of speech in A la recherche underscore Proust's totality of vision and reveal the extent to which these sources are intertwined. Both Christian and mythological narratives are introduced in most thematic areas, and each intertext fulfils distinct, but interdependent, functions within a narrative evolution which is at times cyclical, at times sequential, and at times diffusely organic. Duality and disguise are the threads which bind them all together. Dualities of perspective create a tension between imagination and reality that is only sharpened by Proust's dramatization of the dualities of nature which suffuse the metaphorical structure of the novel. Above all, Christian and mythological texts provide the language of both comedy and tragedy in the novel, and more often a fusion of the two.
Anne Fogarty
- Published in print:
- 2011
- Published Online:
- January 2012
- ISBN:
- 9780199609888
- eISBN:
- 9780191731778
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199609888.003.0014
- Subject:
- Literature, Drama, 20th-century Literature and Modernism
Synge and Joyce have most commonly been seen as opposites, divided by class, religion and background and by their differing attitudes to the ideals of the literary revival. Yet, examination of the ...
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Synge and Joyce have most commonly been seen as opposites, divided by class, religion and background and by their differing attitudes to the ideals of the literary revival. Yet, examination of the pivotal meeting of Synge and Joyce in Paris in 1903 reveals that the hostility between them masks convergences between their aesthetic. Joyce plays with and restages aspects of Synge's work throughout his writings thereby indicating the extent to which he is haunted by the influence of his predecessor. It is particularly Riders to the Sea, the first text by Synge with which he closely engaged and that he initially rejected, which troubles and beguiles him, with its capacity to remould classical convention to deliver insights into the primitivist truths of Irish society and to invent a text that is defiantly different and modern. He returns consistently to Riders throughout his career and continues to reflect on its troubling radicalism.Less
Synge and Joyce have most commonly been seen as opposites, divided by class, religion and background and by their differing attitudes to the ideals of the literary revival. Yet, examination of the pivotal meeting of Synge and Joyce in Paris in 1903 reveals that the hostility between them masks convergences between their aesthetic. Joyce plays with and restages aspects of Synge's work throughout his writings thereby indicating the extent to which he is haunted by the influence of his predecessor. It is particularly Riders to the Sea, the first text by Synge with which he closely engaged and that he initially rejected, which troubles and beguiles him, with its capacity to remould classical convention to deliver insights into the primitivist truths of Irish society and to invent a text that is defiantly different and modern. He returns consistently to Riders throughout his career and continues to reflect on its troubling radicalism.
Judith H. Anderson
- Published in print:
- 2008
- Published Online:
- September 2011
- ISBN:
- 9780823228478
- eISBN:
- 9780823241125
- Item type:
- book
- Publisher:
- Fordham University Press
- DOI:
- 10.5422/fordham/9780823228478.001.0001
- Subject:
- Literature, Criticism/Theory
The author conceives the intertext as a relation between or among texts that encompasses both Kristevan intertextuality and traditional relationships of influence, imitation, allusion, and citation. ...
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The author conceives the intertext as a relation between or among texts that encompasses both Kristevan intertextuality and traditional relationships of influence, imitation, allusion, and citation. Like the Internet, the intertext is a state, or place, of potential expressed in ways ranging from deliberate emulation to linguistic free play. Relatedly, the intertext is also a convenient fiction that enables examination of individual agency and sociocultural determinism. The author's intertext is allegorical because Spenser's Faerie Queene is pivotal to her study and because allegory, understood as continued or moving metaphor, encapsulates, even as it magnifies, the process of signification. Her title signals the variousness of an intertext extending from Chaucer through Shakespeare to Milton and the breadth of allegory itself. Literary allegory, in her view, is at once a mimetic form and a psychic one—a thinking process that combines mind with matter, emblem with narrative, abstraction with history. The first section of the book focuses on relations between Chaucer's Canterbury Tales and Spenser's The Faerie Queene, including the role of the narrator, the nature of the textual source, the dynamics of influence, and the bearing of allegorical narrative on lyric vision. The second section centres on agency and cultural influence in a variety of Spenserian and medieval texts. Allegorical form, a recurrent concern throughout, becomes the pressing issue of section three, which treats plays and poems of Shakespeare and Milton and includes two intertextually relevant essays on Spenser.Less
The author conceives the intertext as a relation between or among texts that encompasses both Kristevan intertextuality and traditional relationships of influence, imitation, allusion, and citation. Like the Internet, the intertext is a state, or place, of potential expressed in ways ranging from deliberate emulation to linguistic free play. Relatedly, the intertext is also a convenient fiction that enables examination of individual agency and sociocultural determinism. The author's intertext is allegorical because Spenser's Faerie Queene is pivotal to her study and because allegory, understood as continued or moving metaphor, encapsulates, even as it magnifies, the process of signification. Her title signals the variousness of an intertext extending from Chaucer through Shakespeare to Milton and the breadth of allegory itself. Literary allegory, in her view, is at once a mimetic form and a psychic one—a thinking process that combines mind with matter, emblem with narrative, abstraction with history. The first section of the book focuses on relations between Chaucer's Canterbury Tales and Spenser's The Faerie Queene, including the role of the narrator, the nature of the textual source, the dynamics of influence, and the bearing of allegorical narrative on lyric vision. The second section centres on agency and cultural influence in a variety of Spenserian and medieval texts. Allegorical form, a recurrent concern throughout, becomes the pressing issue of section three, which treats plays and poems of Shakespeare and Milton and includes two intertextually relevant essays on Spenser.
Christopher V. Trinacty
- Published in print:
- 2014
- Published Online:
- May 2014
- ISBN:
- 9780199356560
- eISBN:
- 9780199356584
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199356560.003.0006
- Subject:
- Classical Studies, Literary Studies: Classical, Early, and Medieval
This brief epilogue summarizes the methodology that has been employed throughout the book. Stress is placed on Seneca’s creation of personae, and this is shown to be a trait of his contemporary ...
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This brief epilogue summarizes the methodology that has been employed throughout the book. Stress is placed on Seneca’s creation of personae, and this is shown to be a trait of his contemporary rhetoric. Seneca’s intertextual method allows him to reenvision his predecessors’ works in the tragic genre. In a nutshell, you are what you read; the multiplicity of influences on Seneca helps him create his tragic style, but he is always interested in creating something original from his source material.Less
This brief epilogue summarizes the methodology that has been employed throughout the book. Stress is placed on Seneca’s creation of personae, and this is shown to be a trait of his contemporary rhetoric. Seneca’s intertextual method allows him to reenvision his predecessors’ works in the tragic genre. In a nutshell, you are what you read; the multiplicity of influences on Seneca helps him create his tragic style, but he is always interested in creating something original from his source material.
Judith H. Anderson
- Published in print:
- 2008
- Published Online:
- September 2011
- ISBN:
- 9780823228478
- eISBN:
- 9780823241125
- Item type:
- chapter
- Publisher:
- Fordham University Press
- DOI:
- 10.5422/fordham/9780823228478.003.0001
- Subject:
- Literature, Criticism/Theory
Such intertextual relations can be historicized in the survey of longue durée, either exemplarily or thematically, selectively, and therefore rather narrowly. With the latter options, the focus has ...
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Such intertextual relations can be historicized in the survey of longue durée, either exemplarily or thematically, selectively, and therefore rather narrowly. With the latter options, the focus has tended to shift from linguistic text to thematized content and historical context and from literary writing to other expressions of culture and of society. These kinds of shifts from texts to theme, culture, and society are certainly viable. The intertext is a convenient term for a relationship or a series of relationships with a single text or multiple texts that enrich and reorient the signification and reception of the text in question. The intertext can be imagined on a continuum between deliberate imitation and intentional allusion, and on the other, an intertextuality in which the unlimited agency of the signifier operates virtually without regard for context, whether sentential and textually specific or broadly cultural, societal, and historical.Less
Such intertextual relations can be historicized in the survey of longue durée, either exemplarily or thematically, selectively, and therefore rather narrowly. With the latter options, the focus has tended to shift from linguistic text to thematized content and historical context and from literary writing to other expressions of culture and of society. These kinds of shifts from texts to theme, culture, and society are certainly viable. The intertext is a convenient term for a relationship or a series of relationships with a single text or multiple texts that enrich and reorient the signification and reception of the text in question. The intertext can be imagined on a continuum between deliberate imitation and intentional allusion, and on the other, an intertextuality in which the unlimited agency of the signifier operates virtually without regard for context, whether sentential and textually specific or broadly cultural, societal, and historical.
Judith H. Anderson
- Published in print:
- 2008
- Published Online:
- September 2011
- ISBN:
- 9780823228478
- eISBN:
- 9780823241125
- Item type:
- chapter
- Publisher:
- Fordham University Press
- DOI:
- 10.5422/fordham/9780823228478.003.0004
- Subject:
- Literature, Criticism/Theory
The opening line “A Gentle Knight was pricking on the plaine” in the first canto of the first Book of The Faerie Queene introduces the Chaucerian intertext and does so problematically. The problem in ...
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The opening line “A Gentle Knight was pricking on the plaine” in the first canto of the first Book of The Faerie Queene introduces the Chaucerian intertext and does so problematically. The problem in Spenser's first line centers on the word “pricking,” which has the perfectly straightforward and innocent meaning, to spurge or urge a horse. The word “pricking” is already conspicuous as the first verbal action in the opening line of Spenser's story, which occurs in a context designed to render its meaning specifically problematical. It causes some logical distraction and besides being narratively incongruous, the word “pricking” has a resonance and politely a doubleness of signification that some words simply lack. The greatest numbers of forms of the word “prick” occur in Spenser's second and fourth Books, and it is reasonable that they should do so.Less
The opening line “A Gentle Knight was pricking on the plaine” in the first canto of the first Book of The Faerie Queene introduces the Chaucerian intertext and does so problematically. The problem in Spenser's first line centers on the word “pricking,” which has the perfectly straightforward and innocent meaning, to spurge or urge a horse. The word “pricking” is already conspicuous as the first verbal action in the opening line of Spenser's story, which occurs in a context designed to render its meaning specifically problematical. It causes some logical distraction and besides being narratively incongruous, the word “pricking” has a resonance and politely a doubleness of signification that some words simply lack. The greatest numbers of forms of the word “prick” occur in Spenser's second and fourth Books, and it is reasonable that they should do so.
Nicole Seymour
- Published in print:
- 2013
- Published Online:
- April 2017
- ISBN:
- 9780252037627
- eISBN:
- 9780252094873
- Item type:
- chapter
- Publisher:
- University of Illinois Press
- DOI:
- 10.5406/illinois/9780252037627.003.0004
- Subject:
- Sociology, Gender and Sexuality
This chapter counters universal readings of Brokeback Mountain (2005) as either a simplistic pastoral that romanticizes the American West, or a universal love story in service of gay normalization by ...
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This chapter counters universal readings of Brokeback Mountain (2005) as either a simplistic pastoral that romanticizes the American West, or a universal love story in service of gay normalization by highlighting how the film accounts for its historical setting and by focusing on how it frames its protagonists in relation to the natural world. It also brings new attention to the 1964 film Surf Party, which Brokeback Mountain briefly excerpts. Through a comparative reading, the chapter shows this seemingly frivolous beach romp to be a crucial intertext: like Brokeback, it depicts the policing of illicit desire in a natural context. The chapter concludes with an exploration of how, through its commentary on access to natural public space, Brokeback Mountain critiques the contemporary state of Western and, especially, U.S. gay politics.Less
This chapter counters universal readings of Brokeback Mountain (2005) as either a simplistic pastoral that romanticizes the American West, or a universal love story in service of gay normalization by highlighting how the film accounts for its historical setting and by focusing on how it frames its protagonists in relation to the natural world. It also brings new attention to the 1964 film Surf Party, which Brokeback Mountain briefly excerpts. Through a comparative reading, the chapter shows this seemingly frivolous beach romp to be a crucial intertext: like Brokeback, it depicts the policing of illicit desire in a natural context. The chapter concludes with an exploration of how, through its commentary on access to natural public space, Brokeback Mountain critiques the contemporary state of Western and, especially, U.S. gay politics.
David Looseley
- Published in print:
- 2016
- Published Online:
- January 2019
- ISBN:
- 9781781382578
- eISBN:
- 9781786945280
- Item type:
- chapter
- Publisher:
- Liverpool University Press
- DOI:
- 10.5949/liverpool/9781781382578.003.0009
- Subject:
- History, European Modern History
The chapter examines the ways in which Piaf has been remembered, commemorated and patrimonialised, from her death to the celebrations of her centenary in 2015. It notes the steady flow of films, ...
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The chapter examines the ways in which Piaf has been remembered, commemorated and patrimonialised, from her death to the celebrations of her centenary in 2015. It notes the steady flow of films, songs, plays, documentaries and tribute acts that have been produced about her and at the growing tendency to mark significant anniversaries of her life and death. These phenomena have not been limited to France but have included the UK, the USA and Japan among others. The chapter identifies the ways in which her once transgressive persona has been normalised and legitimated by these processes of commemoration. It also compares the posthumous meanings Piaf has acquired in France, the UK and the US, concluding that the imagined Piaf of today is an intertext.Less
The chapter examines the ways in which Piaf has been remembered, commemorated and patrimonialised, from her death to the celebrations of her centenary in 2015. It notes the steady flow of films, songs, plays, documentaries and tribute acts that have been produced about her and at the growing tendency to mark significant anniversaries of her life and death. These phenomena have not been limited to France but have included the UK, the USA and Japan among others. The chapter identifies the ways in which her once transgressive persona has been normalised and legitimated by these processes of commemoration. It also compares the posthumous meanings Piaf has acquired in France, the UK and the US, concluding that the imagined Piaf of today is an intertext.
Anne Tuttle
- Published in print:
- 2013
- Published Online:
- May 2013
- ISBN:
- 9780199644094
- eISBN:
- 9780191745010
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199644094.003.0005
- Subject:
- Classical Studies, Literary Studies: Classical, Early, and Medieval
This chapter discusses the thematic significance of omens and portents in Statius’ Thebaid. It also provides an overview of and considers its intertextual relationship with other Latin epics with ...
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This chapter discusses the thematic significance of omens and portents in Statius’ Thebaid. It also provides an overview of and considers its intertextual relationship with other Latin epics with respect to augury and other signs from the gods, and how human characters react to them. By comparing the different instances of augury and portents and filtering them through the lens of Roman religion, the signs given and the consequences of human responses to the signs provide clues to the disposition of the gods and the role of human will in each narrative. The main focus of this chapter is upon the Argive augury and portents, and the implications for the nature of the divine machinery, Fate, and the relationship between humans and gods. Statius’ unique approach to supernatural signs has thematic consequences for the poem as a whole.Less
This chapter discusses the thematic significance of omens and portents in Statius’ Thebaid. It also provides an overview of and considers its intertextual relationship with other Latin epics with respect to augury and other signs from the gods, and how human characters react to them. By comparing the different instances of augury and portents and filtering them through the lens of Roman religion, the signs given and the consequences of human responses to the signs provide clues to the disposition of the gods and the role of human will in each narrative. The main focus of this chapter is upon the Argive augury and portents, and the implications for the nature of the divine machinery, Fate, and the relationship between humans and gods. Statius’ unique approach to supernatural signs has thematic consequences for the poem as a whole.
Carol Harrison
- Published in print:
- 2013
- Published Online:
- September 2013
- ISBN:
- 9780199641437
- eISBN:
- 9780191755651
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199641437.003.0010
- Subject:
- Religion, Early Christian Studies, Theology
This Impromptu is a detailed analysis of Augustine's 9th Homily on the First Epistle of John, in order to illustrate the various aspects of patristic preaching which have been identified in Chapter ...
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This Impromptu is a detailed analysis of Augustine's 9th Homily on the First Epistle of John, in order to illustrate the various aspects of patristic preaching which have been identified in Chapter 5. It examines Augustine's rhetorical and exegetical techniques and shows how he opens up the text so that it can engage the attention and understanding of his listeners; inform, admonish, encourage, resonate with, inspire and ultimately, transform their hearts, minds and lives. Particular attention is drawn to the extemporary, improvisatory quality of Augustine's preaching in achieving these goals.Less
This Impromptu is a detailed analysis of Augustine's 9th Homily on the First Epistle of John, in order to illustrate the various aspects of patristic preaching which have been identified in Chapter 5. It examines Augustine's rhetorical and exegetical techniques and shows how he opens up the text so that it can engage the attention and understanding of his listeners; inform, admonish, encourage, resonate with, inspire and ultimately, transform their hearts, minds and lives. Particular attention is drawn to the extemporary, improvisatory quality of Augustine's preaching in achieving these goals.
Philippa Bather and Claire Stocks (eds)
- Published in print:
- 2016
- Published Online:
- May 2016
- ISBN:
- 9780198746058
- eISBN:
- 9780191808760
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780198746058.001.0001
- Subject:
- Classical Studies, Literary Studies: Classical, Early, and Medieval
Horace's Epodes rank among the most under-valued texts of the early Roman principate. Abrasive in style and riddled with apparent inconsistencies, the Epodes have divided critics from the outset, ...
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Horace's Epodes rank among the most under-valued texts of the early Roman principate. Abrasive in style and riddled with apparent inconsistencies, the Epodes have divided critics from the outset, infuriating and delighting them in equal measure. The chapters here on the Epodes seek to overturn this work's ill-famed reputation and to reassert its place as a valid and valued member of Horace's literary corpus. Building upon a recent surge in scholarly interest in the Epodes, the bookgoes one step further by looking beyond the collection itself to highlight the importance of intertext, context, and reception. Covering a wide range of topics including the iambic tradition and aspects of gender, it begins with a consideration of the influences of Greek iambic upon the Epodes and ends with a discussion on their reception during the seventeenth century and beyond.Less
Horace's Epodes rank among the most under-valued texts of the early Roman principate. Abrasive in style and riddled with apparent inconsistencies, the Epodes have divided critics from the outset, infuriating and delighting them in equal measure. The chapters here on the Epodes seek to overturn this work's ill-famed reputation and to reassert its place as a valid and valued member of Horace's literary corpus. Building upon a recent surge in scholarly interest in the Epodes, the bookgoes one step further by looking beyond the collection itself to highlight the importance of intertext, context, and reception. Covering a wide range of topics including the iambic tradition and aspects of gender, it begins with a consideration of the influences of Greek iambic upon the Epodes and ends with a discussion on their reception during the seventeenth century and beyond.
Michael T. Gilmore
- Published in print:
- 2010
- Published Online:
- February 2013
- ISBN:
- 9780226294131
- eISBN:
- 9780226294155
- Item type:
- chapter
- Publisher:
- University of Chicago Press
- DOI:
- 10.7208/chicago/9780226294155.003.0011
- Subject:
- Literature, American, 19th Century Literature
Melville's short story “Bartleby, the Scrivener,” prefaces the consideration of post-Reconstruction literature. Bartleby, the Scrivener in the story forms a bridge between eras. It is an intertext ...
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Melville's short story “Bartleby, the Scrivener,” prefaces the consideration of post-Reconstruction literature. Bartleby, the Scrivener in the story forms a bridge between eras. It is an intertext connecting a minority viewpoint among antebellum writers, most of whom openly sided with antislavery, and the dominant condition of postwar authorship. Bartleby's echolalia, which infects his coworkers, also anticipates the hero's stutter in Billy Budd, Melville's own text that makes peace with the post-Reconstruction settlement. As an exercise in auto-censorship, the scrivener's mantra can be read as a displaced doctrine of aesthetic capitulation or accommodation.Less
Melville's short story “Bartleby, the Scrivener,” prefaces the consideration of post-Reconstruction literature. Bartleby, the Scrivener in the story forms a bridge between eras. It is an intertext connecting a minority viewpoint among antebellum writers, most of whom openly sided with antislavery, and the dominant condition of postwar authorship. Bartleby's echolalia, which infects his coworkers, also anticipates the hero's stutter in Billy Budd, Melville's own text that makes peace with the post-Reconstruction settlement. As an exercise in auto-censorship, the scrivener's mantra can be read as a displaced doctrine of aesthetic capitulation or accommodation.
Brad Osborn
- Published in print:
- 2017
- Published Online:
- November 2016
- ISBN:
- 9780190629229
- eISBN:
- 9780190629267
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780190629229.003.0006
- Subject:
- Music, Theory, Analysis, Composition, Popular
Chapter 6 synthesizes and distills the major theories and analytical methods in the book’s first five chapters into the analysis of Radiohead’s “Pyramid Song,” from Amnesiac. The majority of the ...
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Chapter 6 synthesizes and distills the major theories and analytical methods in the book’s first five chapters into the analysis of Radiohead’s “Pyramid Song,” from Amnesiac. The majority of the chapter focuses on the process of interpreting this music based on a listener’s knowledge of certain intertextual sources. Potential external sources of meaning addressed in this chapter include Dante’s The Divine Comedy, the visual imagery encoded in Radiohead’s own promotional material from Kid A and Amnesiac, and two contemporaneous films featuring imagery that aligns with either. After analyzing the form, rhythm, timbre, and harmony of the track, the chapter concludes with an analysis of the music video. The goal of this final chapter is to demonstrate an analytical method that can be adapted for any Radiohead song.Less
Chapter 6 synthesizes and distills the major theories and analytical methods in the book’s first five chapters into the analysis of Radiohead’s “Pyramid Song,” from Amnesiac. The majority of the chapter focuses on the process of interpreting this music based on a listener’s knowledge of certain intertextual sources. Potential external sources of meaning addressed in this chapter include Dante’s The Divine Comedy, the visual imagery encoded in Radiohead’s own promotional material from Kid A and Amnesiac, and two contemporaneous films featuring imagery that aligns with either. After analyzing the form, rhythm, timbre, and harmony of the track, the chapter concludes with an analysis of the music video. The goal of this final chapter is to demonstrate an analytical method that can be adapted for any Radiohead song.
Dorothy Wai Sim Lau
- Published in print:
- 2018
- Published Online:
- September 2019
- ISBN:
- 9781474430333
- eISBN:
- 9781474460040
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9781474430333.003.0002
- Subject:
- Film, Television and Radio, Film
This chapter inquires Donnie Yen’s martial arts body in blogosphere. It analyses that Yen’s kinetic body, often the focus of bloggers’ interest, is not only the corporeal entity that appears in ...
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This chapter inquires Donnie Yen’s martial arts body in blogosphere. It analyses that Yen’s kinetic body, often the focus of bloggers’ interest, is not only the corporeal entity that appears in individual films he starred in and become famous for, such as SPL: Sha Po Lang, Ip Man, and Legend of the Fist: The Return of Chen Zhen. It is also an outcome of sundry participatory forces, bridging the martial arts body to the elements in extra-diegetic settings such as Hollywood sci-fi genre, martial arts culture and hip hop culture. It, hence, appears as an intertextual phenomenon which bloggers keep reworking and renegotiating Chinese nationalism in tandem with cyber legends of Ip Man, Bruce Lee, and Chen Zhen. This chapter also pursues to discuss how the Chinese body of Yen is further questioned and complicated when users mix symbolic components drawn from Chinese or non-Chinese systems, and how the offscreen existence of Yen shows both resonance and incongruity to his screen personae complicating his martial arts image. This chapter ultimately argues that these new forms allow bloggers to revisit, represent, and contend the ethnic representation of Yen.Less
This chapter inquires Donnie Yen’s martial arts body in blogosphere. It analyses that Yen’s kinetic body, often the focus of bloggers’ interest, is not only the corporeal entity that appears in individual films he starred in and become famous for, such as SPL: Sha Po Lang, Ip Man, and Legend of the Fist: The Return of Chen Zhen. It is also an outcome of sundry participatory forces, bridging the martial arts body to the elements in extra-diegetic settings such as Hollywood sci-fi genre, martial arts culture and hip hop culture. It, hence, appears as an intertextual phenomenon which bloggers keep reworking and renegotiating Chinese nationalism in tandem with cyber legends of Ip Man, Bruce Lee, and Chen Zhen. This chapter also pursues to discuss how the Chinese body of Yen is further questioned and complicated when users mix symbolic components drawn from Chinese or non-Chinese systems, and how the offscreen existence of Yen shows both resonance and incongruity to his screen personae complicating his martial arts image. This chapter ultimately argues that these new forms allow bloggers to revisit, represent, and contend the ethnic representation of Yen.
