Intertextuality

Scholars have commonly located the source of Paul’s analogy for the resurrection body in 1 Cor 15:39–49 in the enumerated creatures of Genesis 1. Some interpreters have suggested Sir 43:1–10 lies behind the reference to the variegated glory of the celestial bodies mentioned in 1 Cor 15:41. Paul seems to list each of the respective terrestrial creatures and their bodies in a hierarchical order, as he does with the celestial bodies, relating the resurrection body to the later. Rather than the eschatological egalitarianism presumed in some attempts to appropriate Pauline eschatology for theological purposes, this text suggests that Paul envisioned the imminent resurrection of the dead would result in a kind of celestial hierarchicalism, a point often overlooked by interpreters. In this paper, I will argue for an alternative source for the celestial hierarchicalism apparent in the formulation of Paul’s resurrection mythos in 1 Cor 15:41, namely, an apocalyptic reception of Exodus tradition rooted in the hierarchical ascent of the cosmic mountain in Exodus 24 and its later reception. As is the case for other apocalypticists before, contemporary with, and after Paul, this paper will provide further evidence that Paul's own particular construal of Jewish eschatological mythoi, while recognizable, would place him squarely alongside other Jewish contemporaries who operate at the fringes of their own tradition in the wider ancient Mediterranean religious landscape.

The purpose of this paper was born to argue around the concept of Intermediality, which poses the thesis about the adaptation of two different media conformed by two different semiotic systems, as ‘twin arts’. Getting deeper to the main hypothesis, I got much closer to the specific combination of music art into literature language, basing the topic onto studies from researchers as Werner Wolf and Emily Petermann whom called this juxtaposition by the name Musicalization of fiction. The introduction of sound (or music) into narrative text is made by imitation or, at least, the evocation of one media into the other, but it is essential to consider the role of the reader into this process in which it must be aware and enough open-minded to ‘dis-cover’ the intermediality, even when it does not have any previous knowledge in musical notation or transcription. Imitation leaves some derived evidences we can appreciate while reading a text, from explicit obviousness such a structural or contextual usages to implicit and more intratextual background.

Twórczość Tadeusza Kantora wypełniona jest odniesieniami do innych tekstów kultury i konwencji artystycznych. Odniesienia te badane są w jego twórczości malarskiej i teatralnej, rzadziej – w realizowanych przez niego happeningach. Ponadto, zwraca się uwagę głównie na jawne i łatwo rozpoznawalne cytaty z powszechnie znanych dzieł. Tymczasem dialog wewnątrzartystyczny toczy się w twórczości Kantora na wielu poziomach, z których jawne cytowanie jest zaledwie tym najbardziej oczywistym, co nie znaczy najbardziej znaczeniotwórczym. Niniejszy artykuł prezentuje praktykę artystyczną Kantora jako fundamentalnie intertekstualną, nawet w tych przejawach, które – jak happening – na ogół manifestują się jako moment doświadczenia bezpośredniego.

In the order of the Ketuvim in Baba Bathra 14b, the book of Job is preceded by the Psalms and followed by the “Wisdom” books Proverbs and Ecclesiastes. The connections between Job and the latter books have been discussed extensively, but its affinities with the Psalms have been largely overlooked. Ambrose, however, notes a similarity between the two books in the response of their main “characters” to suffering. In The Prayers of Job and David, he writes, “Many indeed have complained over human weakness and frailty, but the holy Job and holy David have done so in a fashion superior to the rest.” Calvin similarly interprets Job through the person of David, often using the example of David to criticize the words which escape Job’s mouth “without advisement.” With the rise of higher criticism, and with it the categorization of Job as a “Wisdom” book, this emphasis on the proper faithful response to suffering was eclipsed by the more abstract concerns of theodicy and the retributive principle. However, connections between Job and the Psalms were not ignored altogether. For example, Claus Westermann argued that Job follows the structure of a psalmic lament, and Katharine Dell adumbrated Job’s consistent “misuse of forms,” many of which appear in the Psalms. An intertextual approach to the two books reveals even more connections between them, as allusions to the Psalms litter Job’s dialogue with his friends (e.g. Job 7:17–18 and Ps 8:5; Job 12:21, 24 and Ps 107:40). These intertextual connections suggest that, though reading Job as “Wisdom” has taught us much about its meaning, the personal theological resonance between Job and the Psalms recognized by Ambrose and Calvin should also inform our understanding of the book. The rabbinic tradition, which placed the Psalms before Job, reflects this reading strategy, in which the prayers of Israel become a lens through which to understand Job’s struggle to hold onto faith in the midst of suffering. Thus, Job does not merely follow the Psalms in the traditional order, the book also follows the models for relation with God the Psalms depict, pressing them to their breaking point.

The purpose of the following work is to examine the role of the citation in Constantine Christomanos’s Tagebuchblätter. In the first place, it is generally presented how the narrator depicts Empress Elisabeth of Austria. Although he meticulously describes her physical appearance and her melancholic beauty, he mostly insists on portraying her personality and revealing her way of thinking. Moreover, our research examines the function of citations which serve as a means for the narrator so as to offer a more precise image of Elisabeth’s character unveiling not only her thoughts and fears but also her disillusionment and chagrin about her life. This work is mainly focused on Heinrich Heine’s and Henrik Ibsen’s citations as they are the most extended and they divulge some crucial aspects of Elisabeth’s character which otherwise would have stayed obscure.
---------------------------------------------------------------------------------------------------------------------------------------
Σκοπός της συγκεκριμένης εργασίας είναι να εξεταστεί η προσωπικότητα της Αυτοκράτειρας Ελισάβετ όπως αυτή παρουσιάζεται από τον συγγραφέα-αφηγητή καθώς και ο τρόπος με τον οποίο η περιγραφή του χαρακτήρα και των σκέψεών της συμπληρώνονται από τα ποιητικά παραθέματα. Αφού γίνει αναφορά τόσο σε αποσπάσματα από ποιητές όπως, μεταξύ άλλων, του  μήρου και του Dante Gabriel Rossetti όσο και σε έμμετρα θεατρικά έργα όπως του William Shakespeare, θα εξεταστούν ενδελεχώς τα ποιητικά αποσπάσματα των Heine και Ibsen, τα οποία παρουσιάζουν ιδιαίτερο ενδιαφέρον για τη σκιαγράφηση του χαρακτήρα της Αυτοκράτειρας.
Αρχικά, θα πρέπει να σημειωθεί ότι ο συγγραφέας-αφηγητής σε αρκετά σημεία του έργου του αναφέρεται στον Heine, χωρίς όμως να παραθέτει αποσπάσματα από τα ποιήματά του. Τρία είναι τα ποιητικά παραθέματα του Heine στο έργο του  ωνσταντίνου Χρηστομάνου. Στην πρώτη περίπτωση, η Αυτοκράτειρα χρησιμοποιεί ένα ποίημα του Heine για να σχολιάσει τον κόσμο και τον τρόπο, που αυτός δημιουργήθηκε και λειτουργεί. Στη δεύτερη περίπτωση, η Αυτοκράτειρα απάντα σε κάποιο σχόλιο του συγγραφέα-αφηγητή σχετικό με το τοπίο που έχουν μπροστά τους. Σε αυτό το σημείο έχουμε μια τελείως διαφορετική χρήση του ποιητικού παραθέματος, εφόσον χρησιμοποιείται με εμφανή πρόθεση αν όχι ειρωνείας, τουλάχιστον πικρού χιούμορ. Στην τρίτη περίπτωση, ο  ωνσταντίνος Χρηστομάνος και η Αυτοκράτειρα βρίσκονται στη θάλασσα σχολιάζοντας την εικόνα της.  συγγραφέας-αφηγητής είναι εδώ αυτός που επιλέγει να χρησιμοποιήσει κάποια αποσπάσματα από ένα ποίημα του Heine, το οποίο αναφέρεται στη μανιασμένη θάλασσα, και κατόπιν στη χλωμή γυναίκα που την αγναντεύει, η οποία ταυτίζεται με την Αυτοκράτειρα.
Επίσης, γίνεται συχνή αναφορά στο θεατρικό έργο Peer Gynt του Ibsen.  ιο συγκεκριμένα, ο συγγραφέας-αφηγητής παραθέτει ένα εκτενές απόσπασμα από το εν λόγω έργο, το οποίο θα εξεταστεί στην παρούσα εργασία. Η περίπτωση αυτού του παραθέματος είναι ιδιαίτερη, γιατί το ποιητικό κείμενο στο οποίο αναφέρεται, είναι μελοποιημένο, παραπέμποντάς μας έτσι όχι μόνο σε ποιητικό λόγο, αλλά και σε μουσική.
Τα συγκεκριμένα, λοιπόν, ποιητικά παραθέματα έχουν δεσπόζουσα σημασία, καθώς συμπληρώνουν το κείμενο και προσδίδουν εγκυρότητα σε όσα έχει να πει ο συγγραφέας-αφηγητής.

En este texto se destaca la presencia de Guadalupe Nettel en la narrativa mexicana como una voz que experimenta con los imaginarios geográficos de China, Japón y México. En este texto se destaca la presencia de Guadalupe Nettel en la narrativa mexicana como una voz que experimenta con los imaginarios geográficos de China, Japón y México.  Se posiciona la figura de Nettel como una escritora que consolida una estética producto del intercambio literario con Oriente y América Latina.

The intertextual connections between Isa 40–55 and the Hebrew Bible are well documented (Willey 1997, Sommer 1998, Schultz 1999). However, none of these studies deal with the parallels between Isaiah and Job, which is surprising because the two articles to deal explicitly with the subject (Pfeiffer 1927 and Terrien 1966) both suggest that Isaiah is dependent on Job, based on parallels such as Isa 41:20 and Job 12:9, Isa 40:4 and Job 21:22, Isa 51:17, 22 and Job 21:2, and Isa 51:15 and Job 26:12. Though the current consensus on Job’s date (5th to 3rd century BCE) would put the book after Isaiah, a product of the exile, several scholars still follow Pfeiffer and Terrien and date it before Isaiah (e.g. Pope 1973, Hartley 1998). So far the discussion has hinged primarily on which book’s message is perceived to be a later development in the evolution of Israel’s religion. I propose to use the recent development of intertextuality to approach the issue from a different perspective. Acknowledging the diachronic impasse on attempts to date the book of Job definitively, I will approach the intertextual connections between the texts from a synchronic, literary perspective, asking in particular, which direction of dependence makes better sense of the text alluded to in its original context, and then what effect the allusion would have in the alluding context. I call this approach “interchronic” because it addresses the intertexts at the intersection between the diachronic and synchronic poles, which divide most intertextual studies. My hope is not merely to push beyond the current standstill on the relative dates of Job and 2 Isa, but also to better understand what the author of Job, whom I believe is the later writer, is doing hermeneutically with his allusions to 2 Isa.

This is an annotated bibliography on important intertextual works. After this bibliography is given, an extensive general bibliography is also included. For interpreters, especially biblical interpreters intending to work on the subject or use intertextuality as their approach, this may be a useful tool.

In this paper, I argue that the traditional narrative of Iphigenia's sacrifice lies allusively behind the opening scenes of the Iliad (1.8-487). Scholars have long suspected that this episode is evoked in Agamemnon's scathing rebuke of Calchas (1.105-8), but I contend that this is only one moment in a far more sustained allusive dialogue: both the debate over Chryseis and her eventual return to her father replay and rework the sacrifice story. The Iliad begins by recalling the start of the whole Trojan war. [See https://twitter.com/Nellenist/status/1517245751679762435 for a brief summary of key points and please contact me for a correctly paginated offprint.]

Wayne Vucinic Book Prize 2007, "for the most important contribution to Russian, Eurasian, and East European studies in any discipline of the humanities or social sciences." 

Endorsement by Slavoj Zizek:

"Alexei Yurchak's Everything Was Forever, Until It Was No More immediately seduced me by its very title with a profound philosophical implication that eternity is a historical category--things can be eternal for some time. The same spirit of paradox runs through the entire book--it renders in wonderful details the gradual disintegration of the Soviet system from within its ideological and cultural space, making visible all the hypocrisy and misery of this process. I consider Yurchak's book by far the best work about the late epoch of the Soviet Union--it is not just history, but a pleasure to read, a true work of art." (Slavoj Zizek, author of In Defense of Lost Causes)

Abstract:

Soviet socialism was based on paradoxes that were revealed by the peculiar experience of its collapse. To the people who lived in that system the collapse seemed both completely unexpected and completely unsurprising. At the moment of collapse it suddenly became obvious that Soviet life had always seemed simultaneously eternal and stagnating, vigorous and ailing, bleak and full of promise. Although these characteristics may appear mutually exclusive, in fact they were mutually constitutive. This book explores the paradoxes of Soviet life during the period of "late socialism" (1960s-1980s) through the eyes of the last Soviet generation.

The present study addresses one of the most recently debated areas in postmodern literature and art, the revival of interest in theatricality. The researcher aims to introduce a few strategies which are used to turn the intertextual elements and the pastiche into working tools for creating theatricality. In order to do so, Thomas Stoppard’s Rosencrantz and Guildenstern Are Dead (1967) which was later made into a movie version as well, directed by Stoppard himself, is examined. The study tries to show how theatricality can affect the performance as well as the contribution of the spectators to the dramatic text and performance. The shared experience of the pastiche made based on Hamlet by William Shakespeare, can contribute to the understanding of how theatricality can work when intertextuality is a powerful and positive force. The sample scenes chosen here are concluded to be the examples of how the illusion of having a stable identity is what not only the characters, the players or the author just assume to exist, but also what the text deliberately and constantly recreates. The playful nature of theatricality highlights the way each of these contributors willingly dupe themselves for the show to go on.

2 Kings 3:4–27 is a challenging text to interpret due to the brevity of the finale (v. 27) and its apparent clash with Elisha’s words (vv. 18–19).  The multitude of views on this passage throughout the ages indicates the difficulty in interpreting it accurately.
This thesis endeavors to explain three aspects of the wrath which came on Israel in verse 27.  First is the source of the wrath, whether from a god or group of men.  Second is the reason for the wrath, be it one or more sins of Israel or the sacrifice of Mesha.  Finally, the object of the wrath has needed clarification based on the grammar of the passage.
Chapter 1 will discuss the text, lexemes, and grammar of 2 Kings 3:27.  It will be argued that the reading of MT (“great wrath”) in 2 Kings 3:27 is to be followed over that of LXX (“great regret”).  A discussion of the usages of היה קֶצֶף עַל in the Hebrew Bible will exclude human-wrath views and will point toward the view that it was Yahweh’s wrath which came on Israel.
Chapter 2 will discuss the possibilities of divine anger.  It will be argued that 2 Kings 3 would not allow for the power of a god other than Yahweh, because the OT consistently mocks the power of other gods.  Next, potential reasons for Yahweh to be angry with Israel will be discussed.  The idolatry of Jehoram, and his reasons for fighting Moab, are relevant factors in this passage.  However, it is argued that the most compelling reason for Yahweh to be angry with Israel is their sin against his instructions for warfare found in Deuteronomy 20:19–20, specifically by felling all the trees of Moab.
Chapter 3 will analyze Elisha’s prophecy in verses 18–19 and compare it to the potential fulfillment in verses 25–27.  First, it is observed that there are few differences in order and wording between prophecy and fulfillment in this passage.  Second, it is argued that the statement “[Yahweh] will give Moab into your hand” (v. 18) refers to a complete victory in a specific battle.  This was fulfilled in verses 25–27, which describe the removal of Moab’s life support systems (v. 25) and Mesha’s desperate attempt to escape (v. 26) or to find divine help (v. 27).  Further textual and historical issues are discussed but do not negate the view taken in the thesis.  It is concluded that Israel retreated in verse 27 because of an outbreak of Yahweh’s wrath in their war camp, likely in the form of a plague.
Finally, the thesis will conclude by reviewing the author’s findings and drawing broader hermeneutical, theological, and biblical significance from the interpretation of this passage to the interpretation of other passages.

This paper explores the relationship of law and literature through an intertextual reading of Urdu writer Ismat<br> Chughtai's biographical essay Un Byaahtaonke naam (In the Name of Those Brides). The essay is based on the<br> obscenity trial for her short story Lihaf, where she was tried alongside fellow writer Saadat Hasan Manto for<br> his story Bu. The trial branded her as a writer of obscenity in literary memory. The author in this paper<br> explores how law becomes a tool of oppression through a feminist reading of women's experiences that resists<br> their violent interpellation by law as insubordinate subjects. The essay presents an ethnographic account of<br> her experience of law's violence by mapping the feminine self in court and turning an irreverent gaze on law<br> through literature's meaning-making practices. Using three texts, the paper traces how Chughtai<br> problematizes the gendered parameters of ob...

Resumen: Madame Bovary, publicada por entregas a lo largo de 1856, y en libro en 1857,tuvo un gran impacto en la sociedad de la época por su análisis de la institución matrimonial y de la insatisfacción femenina causada por las novelas románticas, inspirando novelas como Anna Karenina y La Regenta. Su subtítulo "Costumbres de provincia" y su retrato de los tipos sociales como Homais, el boticario pedante y liberal, Charles, el ignorante marido burlado, o Rodolphe, el seductor donjuanesco entroncan con la tradición costumbrista, como Emma con el Romanticismo. El presente trabajo pretende dilucidar los motivos y modelos de otros textos literarios que funcionan en esta novela, especialmente en su protagonista, mediante el concepto teórico de la "intertextualidad", muy importante en la lingüística y la teoría literaria del siglo XX. Abstract: Madame Bovary, published by installments throughout 1856, and in book in 1857, made a great impact in society due to its analysis of the marriage institution and female dissatisfaction caused by romantic novels, and inspired novels such as Anna Karenina and La Regenta. The subtitle "Customs of the province" and the portrait of social types such as Homais, the pedantic and liberal apothecary, Charles, the ignorant deceived husband, or Rodolphe, the seducer, connect with the tradition of "Costumbrism", as Emma does with Romanticism. The present work wants to show the motives and models a of other literary texts that work in this novel, focusing on its main character, through the theoretical concept of "intertextuality", very important in linguistics and literary theory of the twentieth century.

SESSION I: INTERTEXT AND GENERIC FORM
(sponsored by RSA's Humanism discipline)

"Parody and the Abstraction of Character"
Samuel Fallon, SUNY Geneseo, USA

"Characters in Search of a Plot:
Intertextual Dynamics in Gascoigne’s Adventures of Master F. J."
Robert H. F. Carver, University of Durham, UK

"Character As Meme"
Katherine Schaap Williams, University of Toronto, CAN


SESSION II: TECHNIQUE AND TECHNOLOGY
(sponsored by RSA's Humanism discipline)

"Poor Painted Shadows: Non-Shakespearean Characterization in Shakespeare"
Lara Bovilsky, University of Oregon, USA

"'Sparks of living fire': Ethopoeia and Ovid’s Heroides in the works of Christopher Marlowe"
Asa Olson, Gustavus Adolphus University, USA

"Navel-Gazing and Performance:
The Creation of Character in Ralph Josselin’s Diary (1641-1683)"
Anne M. Myers, University of Missouri, USA

Com o presente trabalho pretende-se apresentar, por um lado, a rede intertextual filosófica que nutre o Livro do Desassossego, e, por outro lado, enquadrar esse levantamento com a poíesis sensacionista pessoana. Dita análise deriva do trabalho realizado com as ferramentas de taxonomia e pesquisa que fornece o arquivo digital LdoD do Programa de Doutoramento «Estudos Avançados em Materialidades da Literatura» do Centro de Literatura Portuguesa da Universidade de Coimbra.

On the Hunter’s Trail. Mickiewiczian Echoes in the Poetry of Czesław Miłosz (and Beyond)

It is a truism that the work of Adam Mickiewicz occupies a central place in Czesław Miłosz’s literary universe. The present paper seeks to investigate one particular Mickiewiczian micro-element that strikingly often recurs in Miłosz’s writings, namely the so-called “kernel” of the
Lithuanian forests (jądro gęstwiny). Significantly, while wilderness areas such as woods and forests have always filled the human imagination with awe and fear, Miłosz has turned the Lithuanian “thicket” into one of the cornerstones of his poetic topography, investing its mysterious  “kernel” with epiphanic and eschatological potential. Partially mediated by some of his other childhood readings 'L'ato leśnych ludzi' ('The Forest People’s Summer') by Zofia Rodziewiczówna, 'Na tropie przyrody'
('On the Trail of Nature') and 'W puszczy' ('In the Wood') by Włodzimierz Korsak, 'Nasz las i jego mieszkańcy' ('Our Forest and Its Inhabitants') by Bohdan Dyakowski and 'Soból i panna' ('The Sable and the Girl') by
Józef Weyssenhoff), Miłosz’s mythologization (if not sacralization) of the wildland spaces of his childhood might be said to add a particular (pagan and gendered) twist to the traditional repertory of Christian (u)topography, in particular its rural and urban manifestations (the Garden of Eden and Heavenly Jerusalem).

Warum erzählt Hugo von Hofmannsthal um 1900 Geschichten noch einmal, die die Welt seit über 2500 Jahren kennt? Diese Frage führt ins Herz dieser Untersuchung, die einen neuen Zugriff auf Hofmannsthals Poetologie anhand seiner irritierend archaischen und ästhetisch so beweglichen Mythosvariationen der Jahrhundertwende vorschlägt. Die hier in den Blick genommenen Dramen suchen in einem ersten Schritt den Dialog mit ihren stets hochkarätigen Intertexten (Sophokles, Euripides, Aischylos, Nietzsche, Bachofen, Freud). Darüber hinaus aber generieren Hofmannsthals Stücke in der Friktion von theatralem und skripturalem Raum, Ritualität und Intertextualität zunächst den Aufbau (Figuration), fi nal jedoch den notwendigen Zerfall (Defi guration) der entworfenen Form (s)einer Mythosvariation. Das im Titel aufgenommene Zerstörende Zitieren beschreibt darum zum einen Hofmannsthals ebenso philologische wie poetische Technik im Umgang mit antiken Quellen, kulturphilosophischen Vordenkern und wissenschaftlichen Diskursen. Zum anderen zielt der Begriff auf die spezifi sche Darstellungsbewegung: In seinen Dramen führt Hofmanns-thal anhand des Scheiterns bestimmter repräsentationaler Formen den Einbruch von Präsenz in den Raum der Repräsentation vor. Die Abfolge von textgenerierender Figuration (Repräsentation) und einbrechender Defi guration (Numinoses, Präsenz) evoziert ein iteratives und darin genuin mythisches Erzählen. ANTONIA EDER, Studium der Neueren deutschen Literatur, Philosophie, Politologie und Psychologie an der Sorbonne IV, Paris und FU Berlin, Promotion 2010 mit vorliegender Arbeit an der Universität Tübingen.

The weaving of fiction through the framework of history can be a challenging occupation. My interest in writing maritime historical fiction or adventure stories inspired by the French voyages of discovery to the Indian and Pacific Oceans in the late eighteenth and early nineteenth centuries has led me to seek models for this process of adaptation. Jules Verne was renowned for his intertexual use of nonfiction source material in his novels. As part of an exegetical process for writing my own novel I embarked upon a research project with my co-author to study the way in which Verne had incorporated passages from the voyages of the French Pacific explorer Dumont d’Urville (1826-29 and 1837-40) into Twenty Thousand leagues under the Sea (1867) Verne draws upon this factual account, not only for accurate content, but also for narrative structure and literary devices. More interesting though, is the way in which he adapts and re-arranges factual material to suit the demands of an adventure story, in particular simplifying characters and exaggerating events for dramatic effect. The influence of these changes on character and plot reveal much about the demands of adventure stories, as well as Verne’s own socio-political framework.

L'articolo è dedicato all'interpretazione di Paura seconda di Vittorio Se-reni. Dopo una dettagliata analisi stilistica, viene ipotizzata la presenza di una reminiscenza dalla Gerusalemme liberata, coincidente con la memoria involon-taria degli episodi della selva di Saron. La comparazione con Tasso permette, inoltre, di valorizzare numerosi aspetti del testo sereniano, quali l'animismo, l'autonominazione, la denegazione, il senso di colpa e la pulsione al suicidio (in linea col côté nichilistico di Stella variabile).

Fictional transmedia universes have been the objects of communication research throughout the last ten years. There has been such a proliferation of these universes that it can be argued that a ‘transmedia turn’ has occurred in research on the narratives of the early 21st century. This has generated interest in avant la lettre transmedia universes, i.e., not only those universes created after The Matrix and The Blair Witch Project, but even those created after The Wizard of Oz and The Lone Ranger. In parallel, the phenomenon has shed new light on the theoretical bases of transmediality. This article argues that this transmedia turn has been the cause of the revitalization of the Genettian concept of paratext, an intertextual modality found in the fuzzy threshold that exists between the diegetic and non-diegetic worlds, between products and by-products, between monomedia and transmedia, between ownership and creative freedom, and between content and promotional material. This article describes and compares the modulations suffered by paratextuality through the authors who have resumed and extended the reach of the Genettian term, and illustrates them with examples taken from official paratexts of recent transmedia fictional franchises.

R. Joel Kennedy’s, “The Recapitulation of Israel: Use of Israel’s History in Matthew 1:1–4:11” explains the New Testament’s use of the Old Testament in Matthew 1:1–4:11 in terms of recapitulation. Israel’s history is restated in the life of Jesus within Matthew’s narrative progressing Matthew’s Christology. According to Kennedy, the recapitulation of Israel’s history in Matt 1:1–4:11 is seen in the genealogy (1:1–17), the birth narrative (2:1–23) and the baptism narrative (3:1–4:11). Fitting Kennedy’s thesis is an instance of intertextuality between Matt 3:1 and Judg 21:25. In Matt 3:1, the phrase, “In those days,” Ἐν δὲ ταῖς ἡμέραις ἐκείναις alludes to Judg 21:25 “In those days,” Ἐν δὲ ταῖς ἡμέραις ἐκείναις, in order to recapitulate the summation of Israel’s need for a king in the days of the Judges, “in those days there was no king in Israel, everyone did what was right in his own eyes” (Judg 16:7; 17:1; 19:1; 21:25). This intertextual allusion has the effect of saying, “at this time” Israel needed a king just as they did during the era of the Judges. Rather than saying “at that time,” Matthew uses the unique construction Ἐν δὲ ταῖς ἡμέραις ἐκείναις in order to allude to Judg 21:25 “in those days.” Richard Hays’ standard criteria for detecting intertextuality substantiate the identification, interpretation, and significance of this allusion to the Old Testament. This intertextual allusion augments the significance of Christ as King in Matthew and clarifies what some understand to be a textual awkwardness.

The chief aim of this essay is to posit a well-known Mesopotamian royal and divine epithet, ušumgallu "great dragon," as the source behind Ezekiel's enigmatic description of Pharaoh in 29.3, hattannīn haggādôl, "the great dragon." This relationship sheds new light and meaning on an old problem: why does Ezekiel refer to Pharaoh as a dragon? Rather than viewing this prophetic expression as a pejorative, the cognate evidence argues for the converse by rooting it in an enduring tradition of regal titles. Replicating Akkadian ušumgallu (Sumerian UŠUM.GAL) as efficiently as possible and drawing upon Israelite cosmological history (viz. Gen 1.21a), Ezekiel feigned including Pharaoh within a venerable, long line of Mesopotamian kings and deities to receive this title. Instead, and as is characteristic of Ezekiel's rhetoric, he upended the putative associations of the "great dragon," thereby exposing its true subordinate position under the hegemony of YHWH

The character of the scholarly patronage community of Jixia in the Warring States (480–221 b.c.e.) polity of Qi has been hotly debated. Was it indeed an “academy,” as it has been retrospectively dubbed? What kind of activities did resident
scholars engage in? What teachings did they propound, what writings did they compose? Following the lead of research by Nathan Sivin and Andrew S. Meyer, the present article does not treat Jixia as an academy proper, but assumes that it was a patronage community sponsored by the Tian/Chen clan. Rather than indulge in more speculations about institutional arrangements and the activities of specific scholars, however, it is argued that intertextual relationships are more likely to shed light on the intellectual concerns of scholars at Jixia. To demonstrate the viability of such an approach, this article analyzes dialogues between King Xuan of Qi (319–301 b.c.e.) and Master Meng in the book Mengzi, demonstrating
that they can be divided into hostile and supportive ones, the latter propounding the principle of “sharing pleasures.” Dialogues included in other compilations that advocate the same principle are then shown to be almost invariably
associated with Jixia scholars. The notion of sharing pleasures, it is finally argued, was part of a wider political debate on princely wastefulness that was characteristic of Qi and is likewise reflected in such compilations as Guanzi,
Yanzi chunqiu, and Liu tao.

This paper offers an introduction to 'multiforms' as associated systems of verbal elements that develop in the memory of an individual and are used in text production. It examines these in the highly conservative kalevalaic mythological poetry of Finns and Karelians, where such multiforms become are sufficiently conservative in social circulation that they can become referentially meaningful. This paper looks briefly at general variation in production, variation by dialect, variation by situation and also the meaningful application of kalevalaic epic multiforms in exceptional contexts to produce new meanings

This paper presents some of the same information in the Finnish language "Multiformit kalevalamittaisessa epiikassa" (2010), but it presents a more general introduction to the poetic system and does not open formal typologies of multiforms in this poetic system.

The Latin terms used to translate Alexandrian poetics are well-known in the Augustan era, but still insufficiently explored during Catullus’s times. Yet, I argue that Catullus played a major role in the constitution of the Latin terminology used by Augustan poets.