3. Foster discusses the “dialogue between…texts.” He refers to this as “intertextuality.” What is the significance, value, and effect of this textual connection? How does it inform and enhance our reading experiences? Is intertextuality intentional or serendipitous? How does it operate? How might it relate to the “one big story?” How might it relate to archetypes, symbols? When have you noticed intertextuality at work in the “real” world? What is the “mythic level?”
Foster touches on many points pertaining to the various aspects, processes, and mechanics of intertextuality by relating to the readers the sheer importance that it serves in every literary construct. Being able to relate one piece of literature to another is, at times, necessary in understanding the core concepts of a text and is sufficient enough for some in it’s bare state. However, for more intellectually driven individuals, a more meta cognitive view must be taken to expand ones literary horizons. As Foster states in Chapter 4, “The more we become aware of the possibility that our text is speaking to other texts, the more similarities and correspondences we begin to notice, and the more alive the text becomes.” Literature, as a whole, is one extensive strand of knowledge being added to, broken down, and built back up again as time progresses. This is the sole essence of intertextuality.
While the use of this textual connection can be perceived and interpreted in many ways, the implementation of it by writers is almost always overwhelmingly intentional. Take Ancient Greek works of literature for example. The Iliad, Odyssey, and Aeneid work so harmoniously with one another that it is hard to dismiss the intentional motifs and symbols found within them. Seeing as how these two different authors, Homer and Virgil, construct such subtle yet undeniable connections within the texts stands to prove how intertextuality is rarely “serendipitous.” This is when literature begins to coincide with the “mythic level.” Without intertextuality, mythology would not have a steady enough foundation to be built upon. Perhaps this is the reason as to why scholars and historians alike are so entranced by mythology and classic works of literature. They provide a unique pattern among them that has enthralled readers for generations and has urged them to delve deeper into the inner workings of numerous other genres of literature. That is the magic of intertextuality.
I think you hit the nail on the head with this look at intertextuality. I would simply like to add how, up until maybe the last century, how uniquely cultural intertextuality was. Rarely did either Virgil or Homer pick up a symbol from the Germanic tribes or the Middle East. But as time passes and trade becomes more and more open across the world, more and more cultural symbols are passed around and interpreted differently. British authors not only borrow from British authors but American or French or South African authors. The great opening of the global market has had a massive impact on intertextuality.
ReplyDeleteI agree with your argument of the importance of intertextuality. John Craig brought up a good point that it is influenced by trade throughout the world. It also depends on certain cultures. As discussed by Foster, American religion is largely monotheistic, so authors using symbols from Hinduism, for example, will not be able to relate to this society as much as in India. I think this also adds to the notion that intertextuality is often intentional. American authors will generally pull from texts that American readers are likely to be familiar with in order to get their message across. Intertextuality is useless if the audience is not familiar with the borrowed text.
ReplyDeleteI love the outlook you have on Foster's emphasis of intertextuality! It's something that adds another layer of life to literature. I like to look at the allusions and crossing of references throughout historically famous texts as a mystery to be unraveled. The way authors borrow phrases from other writers and develop them into their own creation really follows Fosters example of how literature and texts being like eels all in a barrel becoming intertwined. The more our culture develops along with our strides in communication between cultures the more references and wider range of knowledge readers have, which can be a struggle for writers to focus in on what references to make to hit their targeted audiences. However texts like classic mythology, like you mentioned, stand the test of time.
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