Homer and the question of rewriting: intertextuality in French
Theory Workshop Literary: Rewriting and re
Saturday, January 29, 2011
Wakeboard Slider Blueprints
o All works lend themselves equally to the rework, or must Assuming that some works were "predestined" exercises bypass? Are there any texts that make it readily available (or even invite) processing hypertext, or should we think that the rewriting is always a decision of reading, which rests with second author, and she So finally merges with a form of commentary on the text first?
o The issue concerns both the problem of intertextuality that authority (as text by the author): rewrite text, is to recognize an authority that already exists (or chair) to any transformation or is it conferring it back?
o The issue concerns both the problem of intertextuality that authority (as text by the author): rewrite text, is to recognize an authority that already exists (or chair) to any transformation or is it conferring it back?
Thoughts taken from Metamorphoses by Ulysses Antanaclaz Agatha, GF-Flammarion, 2003 (p. 17-1
Conferences: Rewrite the 18th century:
http:/ / www.savoirs.ens.fr/diffusion/audio/2005_11_03_mallinson.mp3
Tartuffe and mother guilty
http://www.savoirs.ens.fr/diffusion/audio/2005_11_10_mallinson.mp3
Writing Workshop: rewritings
L Odyssey, source rewriting Rewriting and re
http://docremuneres.forumparfait.com/l-odyssee-source-de-reecritures-vt2500.html Intertextuality and interdiscursivity
http: / / docremuneres.forumparfait.com/intertextualite-et-interdiscursivite-vt2501.html Rewriting
epics The Trojan War in Achilleid Statius
http://docremuneres.forumparfait.com/reecriture-d-epopees-la-guerre-de-troie-vt2502.html
Imitate Homer Homeric revolutions
http://docremuneres.forumparfait.com/imiter-homere-revolutions-homeriques-vt2503.html
_________________
All rewrites eventually raise the status of the source text: what that a text is brought in to build others? The answers are to be found both upstream and after writing the original text. On the one hand, we may wonder what in the Odyssey, for example, has been the source of so many rewrites. Is there, in the text of Homer, elements absent from other literary works, which have somehow to be rewritten so many times? This question leads us to consider the work in terms of possibilities it contains the seeds without the update. Gaps and ellipses text first appear in this perspective as signals for future writers, invited to fill these gaps. The richness of the Odyssey is obvious on this point: for example, nothing is said about the feelings of Penelope during the twenty years where she awaits her husband as well, multiple versions proposed by his own adventures of Ulysses seems to invite them to continue weaving its infinite narratives. One can thus consider that the original text stands as founder since he designates himself, through the hollow possible that suggests to rewrite next. On the other hand, the fundamental nature of a text may result from an ex post determination: is described as a founding work that was already a source of rewrites manifold. In this case, the rewriting itself with the will or authority is reflected back by backlash on the source text. Thus, we can say that they are also variants of La Fontaine and Molière, who have made Aesop Plautus or references in the history of French literature, as they are respected as precursors of our classics. Similarly rewriting may allow new interpretations of the original text, and thereby revive the interest that her door and Giono Joyce founded their own version of the Odyssey on the question of the validity and truth of the fictional speech, thus placing the work antique in issues that are central to the literary reflection of the twentieth century. The rewrite is called for here more as a way to recognize the authority of an earlier text, but to give it by defining it: a retrospective movement, the second text is a founding text of the first, affect the way which will now read. One sees here a potential of this rewrite, which appears not as an indication of the influence of the past on this literature, but the present (or future) on past works.
A remark in Genette Palimpsest, Le Seuil, 1982 (rééd. al. "Point", p. 246-247)
With all this, the Odyssey is a work of hypertext, however, and, symbolically, the earliest that we can fully receive and appreciate it as such. His second character is entered in its very subject, which is a kind of epilogue part of the Iliad, where such references and allusions constant, which clearly imply that the reader one must have already read the other. Odysseus himself is perennially a second: we talk constantly in front of him without recognizing him, and in Phaeacians he can hear his own exploits sung by Démodokos, or he himself relates his adventures, so that much of the work (stories from Alcinous) is like retrospective in respect of itself: in fact, much of this dealing with the adventures of Odysseus themselves, the rest being rather like the epilogue: final return and revenge. And this narrative structure as complex and swirling some problems joining, we have two stories of stay at Calypso, and the departure of the storm (singing at V by Homer, Odysseus XII vocals), and we have failed in have a third song to XII at the end of the story of Ulysses; this emphasis makes Episode ubiquitous and causes of its takeover by Fenelon advance - as the journey Telemachus, who initiates him also a repetition of the action. Add to this the many opportunities disguised Odysseus tells of the adventures and imaginary mentions himself as another would have known. And episodes announced by prophecy (Proteus, Teiresias, Circe), and therefore even told twice - causing some confusion and disorder that disrupts narrative memory of our story ("where is that episode?"), Which is that allowing a little more ironic times, suspicious, a deliberately dizzying Giraudoux a Joyce, a Giono, a John Barth. The Odyssey is not for nothing the favorite target of hypertext writing.
An excerpt from Lupus in fabula. Six ways to fantasize La Fontaine, Marc Escola, Presses Universitaires de Vincennes, 2004 (p. 240)
It is for literary texts are only two ways to ensure their survival: their constitution in which the subtext is revived in a hypertext, the renewal of their significance in new interpretations. It is unclear that we can rigorously distinguish the two dynamics, on the pretext that a new generation of "literature" and requires genuine "Authors" while the other concerns the "reception" and requires only strict interpreters. These two cases are actually closely linked: rewrites and reviews are elaborated in a common area - that of possible source text. Can you imagine the same deal in terms hypertextual transformations and transformations metatextual - like so many variants in the text issued considered? Comment text or rewrite it, it's always set him around the complex static texts possible that the free play opens the text to the historicity: its sources or texts proved he remembers simply, it eliminates the potential or those that household to other texts as yet unborn, but also future texts and series of comments that it may lead and which will aim to raise In his letter the text of another text.
o All works lend themselves equally to the rework, or must we assume that certain works were "predestined" exercises bypass? Are there any texts that make it readily available (or even invite) processing hypertext, or should we think that the rewriting is always a decision of reading that rests with second author, and therefore it merges finally with a form of commentary on the text first?
o The issue concerns both the problem of intertextuality that authority (as text by the author): rewrite text, is to recognize an authority that already exists (or chair) to any transformation or is it to give it back?
o be found here together three short series of theoretical reflections on the phenomena which accompany the revaluation rework: is that the problem also involves the design that we can make history literature.
Thoughts taken from Metamorphoses by Ulysses Antanaclaz Agatha, GF-Flammarion, 2003 (p. 17-1
All rewrites eventually raise the status of the source text: what is that a text is brought in to build others? The answers are to be found both upstream and downstream of writing the original text. On the one hand, we may wonder what in the Odyssey, for example , has been the source of so many rewrites. Is there, in the text of Homer, elements absent from other literary works, which would somehow for be rewritten so many times? This question leads us to consider the work in terms of possibilities it contains the seeds without the update. Gaps and ellipses text first appear in this perspective as signals for future writers, invited to fill these gaps. The richness of the Odyssey is clear on this point: for example, nothing is said about the feelings of Penelope during the twenty years where she awaits her husband as well, multiple versions proposed by his own adventures of Ulysses seems invite them to continue weaving its infinite narratives. One can thus consider that the original text poses as a founder in that it designates itself, through the hollow possible that suggests to rewrite next. On the other hand, the fundamental nature of a text may result from an ex post determination: is described as a founding work that has already been a source of multiple rewriting. In this case, the rewriting itself with the will or authority is reflected back by backlash on the source text. Thus, we can say that they are also variants of La Fontaine and Molière, who have made Aesop Plautus or references in the history of French literature, because they are respected as precursors of our classics. Similarly rewriting may allow new interpretations of the original text, and thereby revive the interest that her door and Giono Joyce founded their own version of the Odyssey on the question of the validity and truth of the fictional speech, thus placing the work in old issues that are central to the literary reflection of the twentieth century. The rewrite is called for here more as a way to recognize the authority of an earlier text, but to give it by defining it: a retrospective movement, the second text is the first a founding text, affect how he will play now. One sees here a potential of this rewrite, which appears not as an indication of the influence of the past on this literature, but the present (or future) on past works.
A remark in Palimpsestes Genette, Le Seuil, 1982 (rééd. al. "Point", p. 246-247)
With all this, the Odyssey is a work of hypertext, however, and, symbolically, earliest of which we can fully receive and appreciate it as such. His second character is entered in its very subject, which is a sort of epilogue part of the Iliad, where such references and allusions constant, which clearly imply that the reader one must have already read the other. Odysseus himself is perennially a second: we talk constantly in front of him without recognizing him, and in Phaeacians can hear it sung by his own exploits Démodokos or he recounts his own adventures, so that a large share of the work (stories from Alcinous) is like retrospective in respect of itself: in fact, much of which deals with the adventures of Odysseus themselves, the rest being rather The epilogue: return and revenge final. And this narrative structure as complex and swirling some problems joining, we have two stories of stay at Calypso, and the departure of the storm (singing at V by Homer, Odysseus XII vocals), and we have failed in have a third song to XII at the end of the story of Ulysses; this emphasis makes the episode ubiquitous, and leads to advance its takeover by Fenelon - like the journey of Telemachus, who initiates him also a repetition of the action . Add to this the many opportunities disguised Odysseus tells of the adventures and imaginary mentions himself as another would have known. And episodes announced by prophecy (Proteus, Teiresias, Circe), and therefore even told twice - causing some confusion and disorder that disrupts narrative memory of our story ("where is this episode?"), which is a little over that authorize times sarcastic, suspicious, a deliberately dizzying Giraudoux, a Joyce, a Giono, a John Barth. The Odyssey is not for nothing the favorite target of hypertext writing.
An excerpt from Lupus in fabula. Six ways to fantasize La Fontaine, Marc Escola, Presses Universitaires de Vincennes, 2004 (p. 240)
It is for literary texts only two ways to ensure their survival: their constitution subtext that makes them live again in a hypertext, the renewal of their significance in new interpretations. It is unclear that we can rigorously distinguish the two dynamics, on the pretext that a new generation of "literature" and requires genuine "authors" while the other concerns the "reception" and requires only strict interpreters. These two cases are actually closely linked: rewrites and reviews are elaborated in a common area - that of possible source text. Can we imagine to deal with the same wording changes hypertextual and transformations metatextual - like so many variants in the text issued considered? Comment text or rewrite it, it's always set him around the complex static texts possible that the free play opens the text to the historicity: its sources or texts proved he remembers just, possible that dismisses those he or household to other texts as yet unborn, but also future texts and series of comments that it may lead and which will aim to raise in his letter the text of another text.
Marc Escola
http://www.fabula.org/atelier.php?R 26eacute%%% 3Bcriture_et_r 26eacute% 3B%% 26eacute 3Bvaluation
Latest Documents: workshop writing, rewriting, critical essays, tales
Sequence: Rewrite
Two conferences on rewrites A remark in Genette Palimpsest, Le Seuil, 1982 (rééd. al. "Point", p. 246-247)
With all this, the Odyssey is a work of hypertext, however, and, symbolically, the earliest that we can fully receive and appreciate it as such. His second character is entered in its very subject, which is a kind of epilogue part of the Iliad, where such references and allusions constant, which clearly imply that the reader one must have already read the other. Odysseus himself is perennially a second: we talk constantly in front of him without recognizing him, and in Phaeacians he can hear his own exploits sung by Démodokos, or he himself relates his adventures, so that much of the work (stories from Alcinous) is like retrospective in respect of itself: in fact, much of this dealing with the adventures of Odysseus themselves, the rest being rather like the epilogue: final return and revenge. And this narrative structure as complex and swirling some problems joining, we have two stories of stay at Calypso, and the departure of the storm (singing at V by Homer, Odysseus XII vocals), and we have failed in have a third song to XII at the end of the story of Ulysses; this emphasis makes Episode ubiquitous and causes of its takeover by Fenelon advance - as the journey Telemachus, who initiates him also a repetition of the action. Add to this the many opportunities disguised Odysseus tells of the adventures and imaginary mentions himself as another would have known. And episodes announced by prophecy (Proteus, Teiresias, Circe), and therefore even told twice - causing some confusion and disorder that disrupts narrative memory of our story ("where is that episode?"), Which is that allowing a little more ironic times, suspicious, a deliberately dizzying Giraudoux a Joyce, a Giono, a John Barth. The Odyssey is not for nothing the favorite target of hypertext writing.
An excerpt from Lupus in fabula. Six ways to fantasize La Fontaine, Marc Escola, Presses Universitaires de Vincennes, 2004 (p. 240)
It is for literary texts are only two ways to ensure their survival: their constitution in which the subtext is revived in a hypertext, the renewal of their significance in new interpretations. It is unclear that we can rigorously distinguish the two dynamics, on the pretext that a new generation of "literature" and requires genuine "Authors" while the other concerns the "reception" and requires only strict interpreters. These two cases are actually closely linked: rewrites and reviews are elaborated in a common area - that of possible source text. Can you imagine the same deal in terms hypertextual transformations and transformations metatextual - like so many variants in the text issued considered? Comment text or rewrite it, it's always set him around the complex static texts possible that the free play opens the text to the historicity: its sources or texts proved he remembers simply, it eliminates the potential or those that household to other texts as yet unborn, but also future texts and series of comments that it may lead and which will aim to raise In his letter the text of another text. o All works lend themselves equally to the rework, or must we assume that certain works were "predestined" exercises bypass? Are there any texts that make it readily available (or even invite) processing hypertext, or should we think that the rewriting is always a decision of reading that rests with second author, and therefore it merges finally with a form of commentary on the text first?
o The issue concerns both the problem of intertextuality that authority (as text by the author): rewrite text, is to recognize an authority that already exists (or chair) to any transformation or is it to give it back?
o be found here together three short series of theoretical reflections on the phenomena which accompany the revaluation rework: is that the problem also involves the design that we can make history literature.
Thoughts taken from Metamorphoses by Ulysses Antanaclaz Agatha, GF-Flammarion, 2003 (p. 17-1
All rewrites eventually raise the status of the source text: what is that a text is brought in to build others? The answers are to be found both upstream and downstream of writing the original text. On the one hand, we may wonder what in the Odyssey, for example , has been the source of so many rewrites. Is there, in the text of Homer, elements absent from other literary works, which would somehow for be rewritten so many times? This question leads us to consider the work in terms of possibilities it contains the seeds without the update. Gaps and ellipses text first appear in this perspective as signals for future writers, invited to fill these gaps. The richness of the Odyssey is clear on this point: for example, nothing is said about the feelings of Penelope during the twenty years where she awaits her husband as well, multiple versions proposed by his own adventures of Ulysses seems invite them to continue weaving its infinite narratives. One can thus consider that the original text poses as a founder in that it designates itself, through the hollow possible that suggests to rewrite next. On the other hand, the fundamental nature of a text may result from an ex post determination: is described as a founding work that has already been a source of multiple rewriting. In this case, the rewriting itself with the will or authority is reflected back by backlash on the source text. Thus, we can say that they are also variants of La Fontaine and Molière, who have made Aesop Plautus or references in the history of French literature, because they are respected as precursors of our classics. Similarly rewriting may allow new interpretations of the original text, and thereby revive the interest that her door and Giono Joyce founded their own version of the Odyssey on the question of the validity and truth of the fictional speech, thus placing the work in old issues that are central to the literary reflection of the twentieth century. The rewrite is called for here more as a way to recognize the authority of an earlier text, but to give it by defining it: a retrospective movement, the second text is the first a founding text, affect how he will play now. One sees here a potential of this rewrite, which appears not as an indication of the influence of the past on this literature, but the present (or future) on past works.
A remark in Palimpsestes Genette, Le Seuil, 1982 (rééd. al. "Point", p. 246-247)
With all this, the Odyssey is a work of hypertext, however, and, symbolically, earliest of which we can fully receive and appreciate it as such. His second character is entered in its very subject, which is a sort of epilogue part of the Iliad, where such references and allusions constant, which clearly imply that the reader one must have already read the other. Odysseus himself is perennially a second: we talk constantly in front of him without recognizing him, and in Phaeacians can hear it sung by his own exploits Démodokos or he recounts his own adventures, so that a large share of the work (stories from Alcinous) is like retrospective in respect of itself: in fact, much of which deals with the adventures of Odysseus themselves, the rest being rather The epilogue: return and revenge final. And this narrative structure as complex and swirling some problems joining, we have two stories of stay at Calypso, and the departure of the storm (singing at V by Homer, Odysseus XII vocals), and we have failed in have a third song to XII at the end of the story of Ulysses; this emphasis makes the episode ubiquitous, and leads to advance its takeover by Fenelon - like the journey of Telemachus, who initiates him also a repetition of the action . Add to this the many opportunities disguised Odysseus tells of the adventures and imaginary mentions himself as another would have known. And episodes announced by prophecy (Proteus, Teiresias, Circe), and therefore even told twice - causing some confusion and disorder that disrupts narrative memory of our story ("where is this episode?"), which is a little over that authorize times sarcastic, suspicious, a deliberately dizzying Giraudoux, a Joyce, a Giono, a John Barth. The Odyssey is not for nothing the favorite target of hypertext writing.
An excerpt from Lupus in fabula. Six ways to fantasize La Fontaine, Marc Escola, Presses Universitaires de Vincennes, 2004 (p. 240)
It is for literary texts only two ways to ensure their survival: their constitution subtext that makes them live again in a hypertext, the renewal of their significance in new interpretations. It is unclear that we can rigorously distinguish the two dynamics, on the pretext that a new generation of "literature" and requires genuine "authors" while the other concerns the "reception" and requires only strict interpreters. These two cases are actually closely linked: rewrites and reviews are elaborated in a common area - that of possible source text. Can we imagine to deal with the same wording changes hypertextual and transformations metatextual - like so many variants in the text issued considered? Comment text or rewrite it, it's always set him around the complex static texts possible that the free play opens the text to the historicity: its sources or texts proved he remembers just, possible that dismisses those he or household to other texts as yet unborn, but also future texts and series of comments that it may lead and which will aim to raise in his letter the text of another text.
Marc Escola
http://www.fabula.org/atelier.php?R 26eacute%%% 3Bcriture_et_r 26eacute% 3B%% 26eacute 3Bvaluation
Latest Documents: workshop writing, rewriting, critical essays, tales
Sequence: Rewrite
Conferences: Rewrite the 18th century:
http:/ / www.savoirs.ens.fr/diffusion/audio/2005_11_03_mallinson.mp3
Tartuffe and mother guilty
http://www.savoirs.ens.fr/diffusion/audio/2005_11_10_mallinson.mp3
Writing Workshop: rewritings
L Odyssey, source rewriting Rewriting and re
http://docremuneres.forumparfait.com/l-odyssee-source-de-reecritures-vt2500.html Intertextuality and interdiscursivity
http: / / docremuneres.forumparfait.com/intertextualite-et-interdiscursivite-vt2501.html Rewriting
epics The Trojan War in Achilleid Statius
http://docremuneres.forumparfait.com/reecriture-d-epopees-la-guerre-de-troie-vt2502.html
Imitate Homer Homeric revolutions
http://docremuneres.forumparfait.com/imiter-homere-revolutions-homeriques-vt2503.html
_________________
Subscribe to:
Post Comments (Atom)
0 comments:
Post a Comment