Define intertextuality. Discuss three examples that have helped you in reading specific works.

1 answer:

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Intertextuality is the influence that a literary text has upon other literary texts. Nearly every literary work relies on what was written before, and draws parallels, whether in structural or some other sense (such as topics, characters, messages, etc.). Generally, it means that all the literature is a giant web of references, influences, shared themes and values, and that nobody can learn to be original without having dealt with thousands of other authors' works.

For example, Vergil's Aeneid was heavily influenced by Homer's Iliad. In a way, it is a sequel of some of the occurrences from the Iliad - although it is artistically independent and has an immense value in its own right. We even meet some of the Iliad's heroes there - such as Achilles, who is now in the Underworld, long dead and regretting that he didn't live longer. We cannot get the whole picture about Achilles from Aeneid (nor understand the context of his suffering) if we didn't read the Iliad first and see him there, in his full glory.

The second example would be Dante's Inferno. Although it was written in the 14th century, it deals and debates with nearly every literary work from antiquity. There are many heroes from Iliad and Odyssey (including Odysseus himself) - and there is Virgil, the Aeneid's poet, who is Dante's tutor and protector on his way through the underworld. Dante refers to Aeneas as a man who has been to the underworld.

The third example would be Joyce's 20th-century novel Ulysses. It is a giant monument to intertextuality, as it depicts a one-day journey of Leopold Bloom, which corresponds to Odysseus' wandering on his way home to Ithaca. Just like Odysseus has his Penelope, Leopold has his Molly Bloom. The novel is structured in episodes which all resemble corresponding occurrences in Odyssey. Of course, one can read Ulysses without being familiar with the Odyssey; but a great layer of meaning and significance would be lost.

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4. How does Scout's refusal to lead Boo home show her growing acceptance of her femininity?

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Because she knows that her neighbors might talk if they saw Boo Radley being led across the street by an eight-year-old girl, Scout places her arm in the crook of Boo Radley's elbow, so that it looks like Boo is accompanying her, rather than the other way around. This shows how obvious the gossipy nature of the town is, that it has been picked up on by Scout to the extent that she knows how it might be misconstrued, whether deliberately or accidentally, and shared. The magnitude of this nature is shown because in all the strangeness of Boo Radley being out of the house, Scout is still aware that the small detail of who is leading whom may be remarked upon. This also shows Scout's loyalty to and care for Boo, as she is thinking of him when she acts like this, to protect him from the gossip of the neighborhood as much as she can. The act of her leading him across the road in the dark also shows the reversal in roles: while Boo is afraid, Scout becomes strong to guide him, a situation which differs greatly from their last encounter, during the fire, where Scout was weak and Boo was there to help her.

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