TEXT/TEXTUALITY. This is not a definition. Source for information on Text/Textuality: New Dictionary of the History of Ideas dictionary. Text and textuality, then, are part of a family of loosely interconnected concepts that includes at least the following (hyphens added): "Co-text" designates the accompanying discourse in a single text (34), the speech stream preceding and following an utterance-fraction (see 91, 92; on "endophoric," ). In attempting to explain the relationship between reader and text, theorists have alternated focus upon either the reader or the text, to clarify and validate.


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Crucial to her point about the systemic articulation text and textuality heterogeneous relations is the conceptual innovation of intertextuality.

Derived from the semiological text and textuality of substance used by Louis Hjelmslev to track the plane text and textuality content from one sign system to anotherintertextuality describes the transpositions that allow different semiological registers to engage one another.

Kristeva's earliest characterizations of intertextuality—for example, "in the space of a text several utterances, taken from other texts, intersect and neutralize each other"—associate it with the process of literary allusion.

In Revolution of Poetic Languagehowever, a much stronger accent falls on the dynamics of transposition—that is, the unstable process whereby differently realized texts collide in, say, a novel—and she goes out of her way to disassociate intertextuality from the "study of sources.


Kristeva's emphasis on textual interactivity underscores the interdisciplinary character of the text paradigm. No doubt because her mentor, Barthes, drew heavily on Hjelmslev's substance in his influential studies of fashion, where clothing is photographed, text and textuality about, and worn, Kristeva's use of intertexuality deliberately engages the forms of textuality that arise both in different sign text and textuality and in different disciplines.

Not surprisingly, therefore, music and painting have mattered deeply to Kristeva's thinking about literature.

A final conceptual innovation must be mentioned. Throughout the late s and early s Kristeva appealed to a distinction between text and textuality "pheno-text" and the "geno-text.

Instead, it sought to stress the continuum of effects that passed between the formation of the speaking subject and the works produced by him or her. In Text and textuality, this distinction is tied to one between the semiotic and the symbolic, and Kristeva uses it to analyze how the subject's relation to the maternal body and the social order manifests itself in the form and content of a poem.

In designating different levels of the text, the pheno-text and geno-text serve to give the textual paradigm access to a field of literary production that reaches well beyond the poem without, however, renouncing any claim on its formal detail.

In doing so it makes the process of transposition central to Kristeva's theory of the text, a theory that, among other things, calls the concept of the literary tradition deeply into question.


Pleasure of the Text As Tel Quel text and textuality "spiritual advisor," Roland Barthes — had enormous influence on the fate of the text. Although he often deferred to the theoretical rigor of others, he was unquestionably the text's most articulate and tenacious cultural ambassador. This reputation is by no means undeserved.

It does, however, tend to obscure the permutations undergone by Barthes's text. Although the strong suggestion made by the study is that this approach is warranted by its pedagogical value and Barthes's skills here are legendaryit is clear that Barthes is reading the narrative in a deliberately textual manner.

That is, he is constructing the means by which the story produces the possibility of its meanings, including, it should be added, the intensely queer motif of the sexual undecidability around which the narration winds and unwinds.

This approach, also exemplified in text and textuality essays of the period, does at a certain point succumb to the affective charge it channels, resulting in the publication of The Pleasure of the Textwhere the figure of weaving, while not giving way entirely, recedes in importance.

In its place appears a theme first programmatically identified in his groundbreaking essay from"From Work to Text": As part of Barthes's professional trajectory from semiotics to semioclasm "sign breaking" or the defiling of the sacred status of signsthis shift clearly registers the impact of Kristeva and to a lesser extent, Derrida on his writing.

Indeed, in engaging the theme of pleasure Barthes openly weaves into his text the problem of the body and its drives. Drawing on Blanchot's neutered account of literary space, Barthes reframes this encounter in text and textuality distinctly queer mood of promiscuous anonymity, making the textual paradigm accommodate a distinctly sexual, indeed homo-textual, relationality.

Text/Textuality |

This attention to the reader's body and its practices what the body does when it reads finds perhaps its highest expression in Barthes's critique of the literary object, the work.

Not content to text and textuality the existential aspect of one's practice, Barthes links such practice to the social reproduction of the literary institution, arguing that its organizing conceit, the concept of a commodity laden with values deposited there by a genius, in short the literary work, is not only an ideological confection of that institution, but one being deployed in a rear-guard text and textuality against challenges being mounted against it from within a heterogeneous field of writings.

Here, the methodological field of the text serves both to frame the literary institution, to account for its reproductivity, while also establishing how one might read from text and textuality inside out, that is, with an eye toward grasping how reading is also always an engagement with its social and psychic conditions.

In thus calling for a paradigm shift from the work to the text, Barthes is not only echoing Derrida's call for the end of the book in historical terms, but is situating the text itself as the context for a transformation of intellectual power in the West, one that in demythologizing some of its most cherished ideas, challenges the West's ability to define and thereby legitimate its cultural values.

In this sense the text is not itself an idea.

Textuality - Wikipedia

Textual Analysis outside Literary Studies The specific terms in which the integrity of the literary object was questioned by the semiological text helped to catalyze discussion about objects in other disciplines. Kristeva's interest in painting and music has already been text and textuality.

This development had strong immediate repercussions outside France, notably in Britainwhere many of the writers affiliated with the journal Screen saw themselves as contributing to the "textual analysis" initiative.

That each is quite distinctive does text and textuality deny that, taken as a whole, they represent a concerted effort to displace the filmographic or humanistic object of cinema studies by bringing to bear upon the institutional consensus sustaining it all the questions animated in the works of Derrida, Kristeva, and Barthes.

Because the sound track figured centrally as one of the "codes" to weave into the textual analysis of film, music one of several components of the sound trackand more specifically musicology, also became a site for the elaboration of the semiological text.

Text and textuality against musicological structuralism of the sort embodied in the work of Jean-Jacques Nattiezthe textual analysis of music sought to push away from the concerns of compositional syntax, and toward music's performativity, especially its interaction with the array of practices legitimated by post-Cagean aesthetics, notably of course dance and experimental theater.

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