This collection explores and clarifies two of the most contested ideas in literary theory - influence and intertextuality. The study of influence tends to centre on major authors and canonical works, identifying prior documents as sources or contexts for a given author. Intertextuality, on the other hand, is a concept unconcerned with authors as individuals; it treats all texts as part of a network of discourse that includes culture, history and social practices as well as other literary works. In thirteen essays drawing on the entire spectrum of English and American literary history, this volume considers the relationship between these two terms across the whole range of their usage.

J. Todd Hibbard examines the way in which Isaiah 24-27 reuses earlier texts and traditions as part of its literary strategy. He analyzes those literary connections under the rubric of intertextuality, an idea taken over from modern literary studies. Intertextuality is normally recognized as describing an orientation to one or more texts, but does not define a particular methodology. Moreover, because intertextuality is a term that is used in biblical studies in a variety of ways, the first part of this work seeks to define a methodology based on an intertextual approach that is useful for studying prophetic texts. This methodology attempts to understand the ways in which an ancient author may have appropriated an earlier text in a new composition. It requires that texts share common vocabulary and themes, be chronologically possible, and exegetically meaningful to be a true intertextual connection. In terms of literary technique, the author recognizes that intertextual connections may be forged through citations, allusions, and echoes. Finally, he considers several possible purposes for such intertextual connections. The major exegetical categories for understanding the intertextual connections noted in Isaiah 24-27 include texts which universalize earlier judgment passages, texts which universalize earlier restoration and salvation passages, and texts which respond to earlier prophetic texts that are considered unfulfilled.

Why was the term ‘intertextuality’ coined? Why did its first theorists feel the need to replace or complement those terms – of quotation, allusion, echo, reference, influence, imitation, parody, pastiche, among others – which had previously seemed adequate and sufficient to the description of literary relations? Why, especially in view of the fact that it is still met with resistance, did the new concept achieve such popularity so fast? Why has it retained its currency in spite of its inherent paradoxes? Since 1966, when Kristeva defined every text as a ‘mosaic of quotations’, ‘intertextuality’ has become an all-pervasive catchword in literature and other humanities departments; yet the notion, as commonly used, remains nebulous to the point of meaninglessness. This book seeks to shed light on this thought-provoking but treacherously polyvalent concept by tracing the theory’s core ideas and emblematic images to paradigm shifts in the fields of science, philosophy, psychoanalysis, and linguistics, focusing on the shaping roles of Darwin, Nietzsche, Freud, Saussure, and Bakhtin. In so doing, it elucidates the meaning of one of the most frequently used terms in contemporary criticism, thereby providing a much-needed foundation for clearer discussions of literary relations across the discipline and beyond.

The poetics of intertextuality proposed in this book, based mainly on semiotics, elucidates factors determining the socio-historically elusive border between general intertextuality and citationality, and explores modes of intertextual representation.

Uncovers African influences on the Western imagination during the eighteenth century, paying particular attention to the ways Ethiopia inspired and shaped the work of Samuel Johnson.

The last half of the twentieth century has seen the emergence of literary theory as a new discipline. As with any body of scholarship, various schools of thought exist, and sometimes conflict, within it. I.R. Makaryk has compiled a welcome guide to the field. Accessible and jargon-free, the Encyclopedia of Contemporary Literary Theory provides lucid, concise explanations of myriad approaches to literature that have arisen over the past forty years. Some 170 scholars from around the world have contributed their expertise to this volume. Their work is organized into three parts. In Part I, forty evaluative essays examine the historical and cultural context out of which new schools of and approaches to literature arose. The essays also discuss the uses and limitations of the various schools, and the key issues they address. Part II focuses on individual theorists. It provides a more detailed picture of the network of scholars not always easily pigeonholed into the categories of Part I. This second section analyses the individual achievements, as well as the influence, of specific scholars, and places them in a larger critical context. Part III deals with the vocabulary of literary theory. It identifies significant, complex terms, places them in context, and explains their origins and use. Accessibility is a key feature of the work. By avoiding jargon, providing mini-bibliographies, and cross-referencing throughout, Makaryk has provided an indispensable tool for literary theorists and historians and for all scholars and students of contemporary criticism and culture.

Gutai is the first book in English to examine Japan’s best-known modern art movement, a circle of postwar artists whose avant-garde paintings, performances, and installations foreshadowed many key developments in American and European experimental art. Working with previously unpublished photographs and archival resources, Ming Tiampo considers Gutai’s pioneering transnational practice, spurred on by mid-century developments in mass media and travel that made the movement’s field of reception and influence global in scope. Using these lines of transmission to claim a place for Gutai among modernist art practices while tracing the impact of Japan on art in Europe and America, Tiampo demonstrates the fundamental transnationality of modernism. Ultimately, Tiampo offers a new conceptual model for writing a global history of art, making Gutai an important and original contribution to modern art history.

Newly available in paperback, this collection of essays, written by distinguished international scholars, focuses on the structural influence of Italian literature, culture and society at large on Shakespeare's dramatic canon. Exploring recent methodological trends coming from Anglo-American new historicism and cultural materialism and innovative analyses of intertextuality, the volume's four thematic sections deal with 'Theory and practice', 'Culture and tradition', 'Text and ideology' and 'Stage and spectacle'.In their own views and critical perspectives, the individual chapters throw fresh light on the dramatist's pliable technique of dramatic construction and break new ground in the field of influence studies and intertextuality as a whole.A rich bibliography of secondary literature and a detailed index round off the volume.

It is widely accepted that English Renaissance drama owes its extraordinary richness and variety to the blending of elements originating from the medieval heritage and classical and Italian dramatic traditions. This grafting of the "Italian world" onto the English Renaissance goes far beyond the conventional research of the literary sources. The articles in this collection explore English Renaissance drama through new and challenging aspects of influence and through investigations into classical and Italian theater. The volume moves from early Elizabethan to late Jacobean drama. The area of research ranges from New Classical Comedy to commedia erudita, from the Renaissance theory of tragedy and tragicomedy to the birth of pastoral drama and beyond.

An Obituary for "Wisdom Literature" considers the definitional issues long plaguing Wisdom scholarship. Will Kynes argues that Wisdom Literature is not a category used in early Jewish and Christian interpretation. It first emerged in modern scholarship, shaped by its birthplace in nineteenth-century Germany. Kynes casts new light on the traits long associated with the category, such as universalism, humanism, rationalism, empiricism, and secularism, which so closely reflect the ideals of that time. Since it was originally assembled to reflect modern ideals, it is not surprising that biblical scholars have faced serious difficulties defining the corpus on another basis or integrating it into the theology of the Old Testament. The problem, however, is not only why the texts were perceived in this one way, but that they are perceived in only one way at all. The book builds on recent theories from literary studies and cognitive science to create a new alternative approach to genre that integrates hermeneutical insight from various genre proposals. This theory is then applied to Job, Ecclesiastes, and Proverbs, mapping out the complex textual network contributing to their meaning. With the death of the Wisdom Literature category, both the so-called Wisdom texts and the concept of wisdom find new life.