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By Lowell Edmunds

How will we clarify the method in which a literary textual content refers to a different textual content? For the prior decade and a part, intertextuality has been a relevant obstacle of students and readers of Roman poetry. In Intertextuality and the interpreting of Roman Poetry, Lowell Edmunds proceeds from such basic ideas as "author," "text," and "reader," which he then applies to passages from Vergil, Horace, Ovid, and Catullus. Edmunds combines shut readings of poems with research of modern theoretical types to argue that allusion has no linguistic or semiotic foundation: there's not anything in addition to the alluding phrases that reasons the allusion or the connection with be made. Intertextuality is an issue of reading.

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93), an example of damaging, if not exactly parodistic, retroactive intertextuality, is discussed in Chapter 8. Authorial intention as a critical principle has also been argued for in another way, different from Hirsch’s, which I have called external. ’’≤≤ If language consists of speech acts, a fortiori poems and literary works in general are speech acts, and this premise then soon becomes a conclusion. Knapp and Michaels want to illustrate their concept of intention with the example of a poem (Wordsworth’s ‘‘A slumber did my spirit seal’’) traced on the seashore by a receding wave.

Conte 1986: 42–44; cf. 56–57. 9 (Vides ut alta stet nive candidum / Soracte). This ode begins by establishing what Pasquali called a ‘‘motto,’’ with a citation of Alcaeus. Indeed, the sympotic scene at the beginning of the ode is modeled on a poem of Alcaeus (338 Lobel and Page) and employs the same stanza, called ‘‘Alcaic,’’ as that poem. Now within this scene, the speaker proposes to a certain Thaliarchus that he pour out wine from a Sabine jar. The word for jar is diota, emphatic in its climactic position at the end of the second stanza.

Text 9 this way, intertextuality assumes the function of a critical concept. ≥≥ In place of the work, she presents the text. ≥∂ For the understanding of Kristeva’s model of intertextuality, her critical, Marxist orientation is of the greatest importance. ≥∑ At the same time, Kristeva’s theory presents literary studies with the challenge of understanding the nonliterary or nonpoetic, synchronic intertextual dimension of texts. ≥∏ He speaks of the ‘‘cardinal and privileged role of memory within poetry,’’ a notion that seems to exclude or override any contemporary literary strands of the textual network.

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