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-	[[Intertextuality]]	+	== See ==
-	'''Intertextuality''' is the shaping of [[texts]]' [[meaning]]s by other texts. It can refer to an [[author]]’s borrowing and transformation of a prior text or to a reader’s referencing of one text in reading another. The term “intertextuality” has, itself, been borrowed and transformed many times since it was coined by [[poststructuralism|poststructuralist]] [[Julia Kristeva]] in 1966. As critic [[William Irwin]] says, the term “has come to have almost as many meanings as users, from those faithful to Kristeva’s original vision to those who simply use it as a stylish way of talking about [[allusion]] and [[influence]]” (Irwin, 228).	+	*[[Intertextuality]]
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-	==Intertextuality and poststructuralism==	+
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-	Kristeva’s coinage of “intertextuality” represents an attempt to synthesize [[Ferdinand de Saussure]]’s [[structuralist]] [[semiotics]]—his study of how [[sign]]s derive their meaning within the structure of a text—with Bakhtin’s [[dialogic|dialogism]]—his examination of the multiple meanings, or “[[heteroglossia]],” in each text (especially novels) and word (Irwin, 228). For Kristeva (66), “the notion of intertextuality replaces the notion of [[intersubjectivity]]” when we realize that meaning is not transferred directly from writer to reader but instead is mediated through, or filtered by, “codes” imparted to the writer and reader by other texts. For example, when we read [[Joyce]]’s [[Ulysses]] we decode it as a [[modernist]] literary experiment, or as a response to the epic tradition, or as part of some other conversation, or as part of all of these conversations at once. This intertextual view of literature, as shown by [[Roland Barthes]], supports the concept that the meaning of an artistic work does not reside in that work, but in the viewers. More recent post-structuralist theory, such as that formulated in Daniela Caselli's ''[[samuel Beckett|Beckett]]'s [[Dante]]s: Intertextuality in the Fiction and Criticism'' (MUP 2005), re-examines "intertextuality" as a production within texts, rather than as a series of relationships between different texts. Some postmodern theorists {{Fact|date=February 2007}} like to talk about the relationship between "intertextuality" and "hypertextuality"; intertextuality makes each text a "mosaic of quotations" (Kristeva, 66) and part of a larger mosaic of texts, just as each hypertext can be a web of links and part of the whole [[World-Wide Web]].	+
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-	=="Intertextuality" and competing terms==	+
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-	Some critics have complained that the ubiquity of the term "intertextuality" in postmodern criticism has crowded out related terms and important nuances. Irwin (227) laments that intertextuality has eclipsed [[allusion]] as an object of literary study while lacking the latter term's clear definition. [[Linda Hutcheon]] argues that excessive interest in intertextuality obscures the role of the author, because intertextuality can be found "in the eye of the beholder" and does not necessarily entail a communicator's intentions. By contrast, [[parody]], Hutcheon's preferred term, always features an author who actively encodes a text as an imitation with critical difference.	+
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-	==Examples and history of intertextuality==	+
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-	While the theoretical concept of intertextuality is associated with [[post-modernism]], the device itself is not new. [[New Testament]] passages quote from the [[Old Testament]] and Old Testament books such as [[Deuteronomy]] or the [[prophet]]s refer to the events described in [[Exodus]] (though on using 'intertextuality' to describe the use of the Old Testament in the New Testament, see Porter 1997). Whereas a redaction critic would use such intertextuality to argue for a particular order and process of the authorship of the books in question, [[literary criticism]] takes a synchronic view that deals with the texts in their final form, as an interconnected body of [[literature]]. This interconnected body extends to later poems and paintings that refer to Biblical narratives, just as other texts build networks around Greek and Roman [[Classical antiquity|Classical]] history and mythology. Bullfinch's 1855 work [[The Age Of Fable]] served as an introduction to such an intertextual network;{{Fact|date=February 2007}} according to its author, it was intended "...for the reader of English literature, of either sex, who wishes to comprehend the allusions so frequently made by public speakers, lecturers, essayists, and poets...".	+
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-	Sometimes intertextualiy is taken as [[plagiarism]] as in the case of Spanish writer [[Lucía Etxebarría]] whose poem collection ''Estación de infierno'' (2001) was found to contain metaphors and verses from [[Antonio Colinas]].	+
-	Etxebarría claimed that she admired him and applied intertextuality.	+
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-	Some examples of intertextuality in literature include:	+
-	*[[East of Eden]] (1952) by [[John Steinbeck]]: A retelling of the story of Genesis, set in the Salinas Valley of Northern California.	+
-	*[[Ulysses]] (1914) by [[James Joyce]]: A retelling of Homer's [[Odyssey]], set in Dublin.	+
-	*[[The Dead Fathers Club]] (2006) by [[Matt Haig]]: A retelling of Shakespeare's [[Hamlet]], set in modern England.	+
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-	==Intertextuality in pop culture==	+
-	Intertextuality occurs frequently in popular media such as [[television]] [[television shows|shows]], [[movies]], [[novels]] and even interactive [[video games]]. In these cases, intertextuality is often used to provide depth to the [[fictional reality]] portrayed in the medium, such as characters in one television show mentioning characters from another. [[Fox Broadcasting Company|Fox Television]]'s ''[[The O.C.]]'' is one example of television using intertextuality, with its frequent references to [[comic book]] and movie characters such as [[Spider-Man]] and ''[[Star Wars]]'' protagonist [[Luke Skywalker]].{{Fact|date=February 2007}} Drama series [[Lost (TV series)|Lost]] has a large number of intertextual tie-ins, including websites, broadcasts, and even a novel written by a character, which purport elements from the series to be real.	+
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-	Notable examples of intertextuality include animated series like ''[[The Simpsons]]'', ''[[Futurama]]'', and ''[[Family Guy]]'' which are very heavily dependent upon intertextual references as a source of humor. Intertextuality should be seen as more than sly references and in-jokes, however. [[Babylon 5]]'s interplay with ''[[The Lord of the Rings]]'' or [[Buffy the Vampire Slayer]]'s frequent [[riffing]] on themes from older mythological source material are considered examples of intertextuality.	+
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-	== References ==	+
-	*Hutcheon, Linda. ''A Theory of Parody: The Teachings of Twentieth-Century Art Forms''. New York: Methuen, 1985.	+
-	*Irwin, William. <nowiki>''Against Intertextuality''</nowiki>.'' Philosophy and Literature'', v28, Number 2, October 2004, pp. 227-242.	+
-	*Kristeva, Julia. ''Desire in Language: A Semiotic Approach to Literature and Art.'' New York:Columbia University Press, 1980.	+
-	*Porter, Stanley E. "The Use of the Old Testament in the New Testament: A Brief Comment on Method and Terminology." In ''Early Christian Interpretation of the Scriptures of Israel: Investigations and Proposals'' (eds. C. A. Evans and J. A. Sanders; JSNTSup 14; Sheffield: Sheffield Academic Press, 1997), 79-96.	+

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