NARRATIVE THEORY #3 - Intertextuality

Julie Kristeva is a French semiotician.

For example an musical artist will also refer to their own line of work throughout their career, David Bowie did this more and more from the 1990s onwards, for example on the track "You've Been Around he used the recognisable chorus chant "Ch-Ch-Changes"

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*Insert Spotify embed code*
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However, there can be more unnoticed forms of intertextuality, as that Ch-Changes is a recognised part of pop culture and (having been covered and used for films such as Shrek 2 and was sung in the cult fantasy horror series Supernatural, it has thereby become one of Barthes's cultural codes)

When is it accidental, when is it intentional? 

When doing the digipak and website I will look to many inspirations from both the artist I have chosen as well as the "look" of other musicians and artists from other mediums.

Similiraties between Nirvana's look and Tin Machine, was one stealing from the other? All band members wearing suits isn't the most left-field idea

APPLIED TO MUSIC VIDEO
Is music video the most intertextual medium?
Goodwin's six types of signifiers, linking to simulacra of Baudrillard. 

Music videos inspired by contemporary art, read here for some examples.

Goodwin later names these as different types of intertextuality within music video:

• Social Criticism 
• Self-Reflexive Parody
• Parody
• Pastiche
• Promotion 
• Homage

SEVEN TYPES OF INTERTEXTUALITY, can these all be applied towards music and the promo package?

CATEGORY I

The TV series The A-Word quoting King Lear but the character knowingly doing that and says it.

This category comprises specific books or texts mediated directly through the author. Revision, translation, quotation, allusion, sources, conventionally understood, an author's earlier work - all belong here. Largely the dynamic consists of authorial reading and remembering, though performances count too (as a kind of reading) and the memory may be subconscious rather than conscious and purposeful. Emrys Jones, for example, well demonstrated the shaping influence of Mystery Play cycles on Shakespeare's histories and tragedies. The evidence for textual transactions in Category I has largely been the identification of verbal iteration or echo (those endless and often disap- pointing lists of parallel passages) though there are verbal possibilities in matching concatenations as well, in lexical or imagistic patterns. There is also non-verbal evidence available in scenic form, rhetorical and stylistic figura- tion, and thematic articulation. 

Type 1: REVISION
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This type of intertextuality features a close relationship between anterior and posterior texts, wherein the latter takes identity from the former, even as it departs from it. The process occurs under the guiding and explicitly comparative eye of the revising author. The revision may be prompted by external circumstance - censorship, or theatrical, legal, or material exigencies. Alternatively, the revision may simply reflect an author's subsequent wishes. The reviser who is not the author presents another scenario and an entirely different set of problems and considerations. In all cases, however, the transaction is linear, conscious, and specific, marked by evidence of the reviser's preference and intentionality.

Type 2: TRANSLATION
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Translation transfers, 'carries across', a text into a different language, recreates it anew. The later text explicitly claims the identity of the original, its chief project an etiological journey to itself, or to a version of itself. Translations are generally grouped according to source language, and judged by standards of 'fidelity', i. e., the closeness of the rendering to the original and the success of the translator in representing the original's literary quality and effects.

Type 3: QUOTATION

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Quotation literally reproduces the anterior text (whole or part) in a later text. (For general purposes of description, we may view textual allusions as a typesof quotation, in effect, quotation without verbal iteration, quotation asreference not re-enactment.) Quotations may be variously marked for reader recognition, by typographical signals, by a switch in language, for example, or by the actual identification of the original author or text:

Type 4: SOURCES
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Source texts provide plot, character, idea, language, or style to later texts. The author's reading and remembering directs the transaction, which may include complicated strategies of imitatio. The source text in various ways shapes the later text, its content, or its rhetorical style and form.

CATEGORY II

Both of these can be applied to genre potentially

Category II contains traditions. An originary text radiates its presence through numberless intermediaries and indirect routes - through commentaries, adaptations, translations, and reifications in other works. It exists in combina- tion with other originary texts, largely as a set of inherited expectations, reflexes, and strategies. The source remote does not lie far off from the tradi- tions of Category II. But there is a real distinction between the direct influence of, say, a sixth-form Virgil passage, half-remembered many years later, and the indirect influence of traditions, in which the originary text may never have ever been read by the author at all. 

Type 5: CONVENTIONS + CONFIGURATIONS

Poets constantly appropriated and adapted numerous conventions from classical, medieval, and continental literatures, formal and rhetorical. Senecan conventions in tragedy, the chorus, messenger, domina-nutrix dialogue, sticho- mythia, and soliloquy, for example, have all attracted due attention. So have Plautine and Terentian conventions in comedy: eavesdropping, disguise, lock- outs, stock characters like the witty slave, bragging soldier, blocking senex, and so on.

Type 6: GENRE
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Just like films will often refer to the archetype of a genre like Michael Myer's mask Category II intertextuality also includes the wide range of linkings implicit and explicit in generic choices. These may appear in individual signifiers (e.g., the play-within-the-play of revenge tragedy, the singing shepherds in pastoral), which function much like conventions, or range to broader and less discrete forms. On the far end of the spectrum often a sophistication and smoothness of adaptation makes difficult positive identification of origins.

CATEGORY III

Type 7: PARALOGUES
Can be compared to Barthes's cultural code.

Paralogues are texts that illuminate the intellectual, social, theological, or political meanings in other texts. Unlike texts or even traditions, paralogues move horizontally and analogically in discourses rather than in vertical lineation through the author's mind or intention. Today, critics can adduce any contemporary text in conjunction with another, without bothering at all about verbal echo, or even imprecise lines of filiation. In some ways the discussion of paralogues departs from past critical practices, bringing new free- dom; but, of course, new perils threaten: rampant and irresponsible association, facile cultural generalization, and anecdotal, impressionistic historicizing. Though some would not care to admit it, the practice of adducing paralogues
is not new. E. M. W. Tillyard's citations to Richard Hooker's Laws of Ecclesi- astical Polity and Dionysius the Areopagite's treatise on celestial hierarchies function intertextually as do post-structuralist citations of the hic mulier pamphlets as background to the gender play of early modern literature. The same holds true for modern uses of The Return of Martin Guerre, the rhetoric of Elizabeth or James I, or the documents of colonial discourse, though now moderns tend to see literary texts as contested sites, rather than as self- contained, discursively significant wholes.