Drawing on his work in Iceland, Ireland, Scotland, North America, Ghana, and Fiji, linguistic anthropologist and folklorist Richard Bauman presents a series of ethnographic case studies that offer a sparkling look at intertextuality as communicative practice.
The authors are concerned with both the relationship between performance, music, and film and the specificity of national, historical, social, and cultural contexts. Subjects include: cinematic representations of music forms; celebrities, fan culture, and intertextuality; the importance of popular music and the soundtrack movie; and specific national contexts.
The structure of this book covers three successive stages which seem necessary for a comprehensive treatment of the subject-matter. Stage I deals with the foundations of intertextual theory and hence is concerned with its axioms, concepts, and methods of analysis. Stage II presents various components of an intertextual morphology which in its entirety forms a classificatory system allocating each intertextual constituent, ecriture or genre its exact structural position. Stage III highlights selected aspects of a (yet unwritten) his tory of intertextuality..
No text has its meaning alone; all texts have their meaning in relation to other texts. Since Julia Kristeva coined the term in the 1960s, intertextuality has been a dominant idea within literary and cultural studies leaving none of the traditional ideas about reading or writing undisturbed.
