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Introduction

Comics and Adaptation

Armelle Blin-Rolland, Guillaume Lecomte, and Marc Ripley

Cartmell and Imelda Whelehan have reshaped the field around questions of intertextuality and hypertextuality. 4 They rethought the relationship between source text and adaptation by positing adaptations as ‘second without being secondary’ 5 and by drawing

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Eliza Deac

ignore the interpretative possibilities that these ones still offer. Book/Hypertext/Typographical and Hypertextual Bodies of Text The contrast Patchwork Girl sets up between book and hypertext by presenting itself as a derivative of Mary Shelley

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A Transtextual Hermeneutic Journey

Horst Rosenthal's Mickey au camp de Gurs (1942)

Yaakova Sacerdoti

: intertextuality, paratextuality, metatextuality, architextuality and hypertextuality. 12 Intertextuality is the space where two or more texts conduct a dialogue, the presence of which is revealed through quotations, plagiarism and/or allusions. 13

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Editorial

Comics and Transnational Exchanges

Lawrence Grove, Anne Magnussen, and Ann Miller

(whether self-deceiving bureaucrats or naively optimistic prisoners) and the eiron, the role taken on by Mickey as narrator, exposing the folly of others. She finally looks at the hypertextual level, reading Rosenthal's text as an ironical imitation of

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Matthew Zarnowiecki

Internet, and particularly by hypertextuality, for reconceiving not only the book of Shakespeare’s sonnets, but also the ways we read, interpret, and respond to them. After searching through the available online editions, I was mostly disappointed by what I

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Adapting Brittany

The Ker-Is Legend in Bande Dessinée

Armelle Blin-Rolland

strategies (that go from ‘celebration’ to ‘allusion’, as the hypertextual shades into the intertextual), they are found in the ninth and penultimate category of ‘secondary, tertiary, or quaternary adaptations’ that are ‘adaptations not of an earlier story

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‘No More Let Life Divide…’

Victorian Metropolitan Confluence in Penny Dreadful

Sinan Akilli and Seda Öz

Adaptation: Mutations of Cultural Capital’, Shakespeare Studies 38 (2010), 104–13). Yet another metaphor, that of the ‘palimpsest’, was introduced by Gerard Genette in his 1982 study of ‘hypertextuality’ as ‘any relationship uniting a text B … to an earlier

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Ad Fontes Digitales!?

Margins of Representation When Incorporating Medieval Sources into a German Digital History Textbook

Andreas Willershausen

and form a single narrative. The character of both image sources, which include a graphic representation of the Council and a medieval illuminated manuscript, is purely illustrative. A hypertextual element briefly explains the meaning of the term “Holy