#exquisite analysis in the tags there!

[neuxue]

#Possibly unpopular opinion: i love that the monkey isn't named#Marisa Coulter is a liar and a performer#She becomes who she needs to be and says what she needs to say to get what she wants#It is such a part of her to lie and deceive that she lies to the most powerful angel and gets away with it#Of course we don't know her daemon's name#Marisa is 20 layers of deception in a fashionable outfit#Peel back the layers to find the truth and you just find more performing#I bet Marisa herself doesn't use the monkey's name#Does she even remember it?#Does he? --@kingedmundsroyalmurder

LOVE OF GOD, PHILIP!!!

[carelessflower]

Tmi gang and the perfumes they would use

your local tmi brained has come back with another analysis. this thread considered multi facets into picking a specific sense for each character, from their personality, occupation to their financial background. and feel free to add in any perfume you think also fit these characters 💖

Alec

Starting off with our beloved consul. After marrying into wealth and slowly moving away from the battlefield and into the office, Alec develops a penchant for light, comforting scents, thinking white floral, peony, and smell of freshly washed fine cashmere sweater. Note the sandalwood, through the influence of his husband

Magnus

The ever-elusive high warlock of Brooklyn. Gorgeous, exquisite taste. Say you can’t afford him and everyone knows it. Magnus loves a rich gourmand with bits of kick, much like his chaotic personality. He's a party boy at heart, but that family side sure brings out the sweetness

Clary

Clary is like the turning point between spring and summer. Windy enough for a lazy picnic. Floral but not too sweet. She needs something fresh, to roll out of bed every morning for shadowhunter training, art class, and then the occasional demon-hunting date night

Jace

The golden boy your parents warn you about. Is that the beast or the fallen angel? Can be seen either shirtless or sticking by his armies of worn leather jackets, Jace has no qualms about attracting eyes everywhere he goes. He would smell like he instigates a fight in some sleazy crowded bar, and win

Izzy

Classic. Feminine. Seductive. The fantasy of every man's dream. Vanilla, almond, and tropical fruits, it is as delicious as it get. But beware behind the sweetness, her sharp whip and sharper heels, ready to crush anyone and everyone getting in her way. And it would be an honor

Simon

He doesn’t know much about perfume but got this as a prank and refuses to stop using it unironically. He also thinks its' citrus and salt help with the sweat after training and band practice. He’s lucky Izzy happens to like his natural musky scent beneath all the spray

+ (2) BONUS

Alternative pick for Alec

Still his favorite white floral, but there's more push for fresh and fruity

Alternative pick for Magnus

A million different smells at once, smokey and sexy

tag list: @magnus-the-maqnificent @literallytypogod @hoezier-than-thou @sociallyineptbibliophile @queenlilith43

@khaleesiofalicante @wandererbyheart @raziyekroos @onetimetwotimesthreetimess @alexandergideonslightwood @andrwminward

@noah-herondale-lightwood @elettralightwood @dustandducks @deliciousdetectivestranger @delightfullyterrible

@letsgofortacos

@kita-no @thelightofthebane @secrettryst @goldendreams3 @cityofdownwardspirals

@stupidfuckindinosaur

@i-have-not-slept @rinadragomir @potato-jem @kasper-tag @cam-ryt

@banesapothecary

[shallowseeker]

You've shared some things about seeing Jack as a baby as being ableism and I was wondering where you stand on this issue?

I'm assuming this is about the poll I shared. I think where I land right now on this particular issue: I assume the most charitable view I can. Escapism is the point for a lot of folks, so I try not to begrudge them that.

Some other, more rambling thoughts:

1. Jack had a longer anticipation phase: Unlike Amara and Emma, who are also supernatural born-adult cosmic entities, there was a longer anticipatory phase with Kelly, where we were excited about her pregnancy and anticipating her baby.

We journeyed with Kelly through being anguished over her decision-making and bonded with Cas over buying diapers etc etc. We also got to know Kelly (and Kelly's parents) way more than Emma or Amara's human parents. I think this attenuates some of the fandom preferences. NOTE: (Amara refers to herself as a child when she came to earth, saying of Crowley, "He tried to control me when I was a child." So I think the prodromal phase to her primordial emergence isn't as cut-and-dry as we'd like either.) But the thing with all of them is their growth is clearly presented as abnormal and outside the scope of a typical "human" experience. They are all characterized by their powers and their massive, massive intake of information. They all overshadow human sensibilities with their vastness, and overpower humans by leaps and bounds.

Simply put, they're much much much higher on the food chain, and that causes intense anxiety in their human relationships, something AU Michael keys into for Jack in The Spear:

via @spnscripthunt

Jack was afraid Michael was right. That he'd grow into thinking of his familial loyalties the same way we humans think about hamburgers or clothes.

I'm also thinking of this quote:

"As exquisite as the natural world is, however, there exists a violent underbelly that, for some reason, mostly goes unnoticed...In point of fact, the survival of any one species depends entirely on how successfully it's able to willfully kill--and usually eat--its neighboring species. Even human vegans and vegetarians survive by the demise of plants. Moreover, if you're wearing clothes as you read this, you're wearing death." -Randall R Scott from Entanglement is Not Spooky

In physics, the word information is closely related to microstates and probabilities. In some limited circumstances information is functionally similar to entropy. However, information is no substitute for knowledge and experience. I think the cosmic entities have way, way more information than humans, but not always more wisdom, so the power imbalances aren't super cut-and-dry. (This is why I write Jack-Harper like this.)

In fact, I think humans can naively latch onto the "perceived" playfulness and strangeness of the cosmic entities as a means to ease the anxiety of the inherent, extreme power imbalance. (Example: sexual inexperience is not a meaningful indicator of "innocence" when the same character is also an experienced war mongerer and cannibal. For a human to assume that is silly. Naive.)

///

2. The Jack infant pushback analysis is helpful for me: I've found the ableism analysis really helpful for delving into Jack's own perspective of who he is, how he relates to and moves through the world, and how he is perceived by others.

Simply put, I like it.

I'm a weirdo, (I test around 21-23 on the autism quotient, around your average chess champion), but that's a long way from having enough autistic traits to say what is or isn't ableism on this issue.

Even if that's not your primary mode of viewing Jack, I found it helpful for viewing Jack as more than just an accessory, more than fanon wish fulfillment. (Though wanting happiness for character is, as I said above, completely understandable) I really like Jack as a complex character all on his own.

And for that, I love how it tickles my brain. I'll start tagging it #complex jack and #culture hero jack if that helps!

///

3. Is baby Jack my favorite thing? No. But I've decided to focus on just...writing more actual Jack meta instead.

I want to emphasize the complexities of his role as WAR SON and the idea of his effervescence as at least partly defensive performance (a la analogous to performing!Dean). He's a pretty sassy mofo; Kelly Kline is too.

I think a lot of his interiority being similar to Mary is fascinating. (They are both child soldiers.)

I also like how the TFW dads’ views on Jack are often analogous to how they view themselves.

So you'll find I write a lot of that kinda stuff instead.

///

4. Culture hero Jack: I think if I had to characterize where I'm at with Jack as a character, I get the most mileage out of the Born-Sexy-Yesterday trope (Like Vision from the MCU) and Culture Hero myths (which often features babies born as adult males who are at war with their murderous God!grandfathers).

It's not to say that's better or more right. I just dig it. You'll find that I write and share what I find personally compelling.

There are a lot of opinions that I find well-argued that...simply don't do anything for me right now. Sometimes it's a vibe I'm just not feeling, sometimes it's a topic I exhausted in my youth and am just extremely played out on.

For now, I just focus on the ones that do it for me. :-)

Sorry that got rambling.

I hope that answers your question and makes you feel open to me sharing some of this stuff without feeling like maybe I'm bashing you if you enjoy that content? Anyway... :-)

[tinyarmedtrex]

first line analysis

Thank you @onthewaytosomewhere and @judasofsuburbia for the tags!!

RULES: post the first lines of your last 10 fics/chapters posted on AO3 (if you have less than 10 fics posted, post the first lines of all your fics) and try to draw some conclusions

First Lines from most to least recent:

The white glow of website's disclaimer page illuminated Henry's face. The Algorithm Knows Best

"Hello there, Mr.-" He glanced down at his clipboard. "Spring, was it?" This is the way that we love, like it's forever

Nick allowed his eyes to wander around the room, taking in the opulence. Most Ardently

As Nick walked, he glanced up at the clinic's sign, two Greek symbols intertwined with the universal sign for medicine between them. Knot Gonna Happen

Married at first sight is the first social experiment of its kind, using in depth research and expert opinions to match together eight singles.  It's all or Nothing

Charlie moved to the music, letting it flow through him as he danced.  I only see you when the moon is full

"I dunno Eds, this isn't really me." Richie said, turning around so he could better see himself in the three mirror set up.  Say you'll be mine

As Nick walked around the party, he kept what he hoped was a polite, if forced, smile on his face.  Keep My Heart Slow

Henry stood up, his knees cracking from the hardness of the floor.  An Exquisite Temptation

“Someone finally rented the place across the street.” Zahra said. I want you to put down roots

Analysis: Looks like I like some action and introducing the POV (unless it's dialogue). I really never think too much about first lines so hopefully these don't reveal some deep truth XD

Tagging @judasofsuburbia @binkitten @cadburyoreo @guillermosfamiliar @asyouleft @7-ate-9 @kennacrab23

[whimsy-wallfish]

{ intro } current project -> roux

{ rowan , they them , eighteen }

i post :

------ join my taglists!

poetry, and flash fiction. updates on my longer writing projects, as well as musing on various subjects and books ive read. writing prompts.

about me :

i am an artist, as well as a new writer! i have five cats.. so many, as it should be. i am an amature mushroom forager, when theyre in season. im interested in exploring dark themes in my work, especially mental illness. ive kinda gotten back into reading this year!! i am also.. enthusiastic about vampires. you may hear of this..

{ tag guide }

current projects - novel wip; roux , short stories; send back duplicates, abomasum zine

other's writing - other's writing,

reading - currently reading

all poetry - wallfishpoetry,

all prose - wallfishprose

writing by subject - on eds, on drvgs, on love, on paranoia, on dissociation, on queerness, on creativity, on memory, nsfw (18+)

hypothetical recipient - to my love,

writing prompts - wallfishprompts

idea inspo reblogs - story idea, misc inspo, sheepdog story, vampire-cowboy story

{ creativity i enjoy }

television - russian doll, the good place, the walking dead, elfen lied, shameless, bojack horseman, inventing anna, midnight mass

film - rocky horror picture show, sweeny todd, the vvitch, snowpiercer

books - exquisite corpse by poppy z brite,

short stories - borrasca by ck walker,

poetry - crush by richard siken, MY MUTUAL CEADGEARST (i hope he never sees this lmaoooo But If He Does . i think ur poetry is good man , ur one of my fav poets

musicals - the falsettos,

music - type o negative, the smiths, the cure, the chameleons, agent orange, black flag, tsol, sad lovers and giants, theateres des vampires, paralyzed age, the sisters of mercy, jack off jill, local h, dig, HOLE !!!!!!!!!!!!!!!;!,, the distillers, the garden, bloody dead and sexy, the killing joke, my chemical romance, acid bath, sludge, rudamentary peni, angelfish, fugazi, plastic noir, they might be giants, daisy chainsaw, greta, magazine, the birthday party, church of the cosmic skull, death (the proto-punk one), garbage, mindless self indulgence, the misfits, sex gang children

(just ignore its 90% music i dont watch much media, mostly youtube ,media analysis. media itself isnt stimulating enough for me unless im like activily highlighting shit.)

{ other social media }

art instagram - wispywallfish

personal instagram - lichennn__

(my personal is private but feel free to request!! ill accept jf ur accounts not blank or off)

nanowrimo - wispywallfish

goodreads - wispywallfish

[kimilycof]

LECTURE 1

SUBJECT : CREATIVE WRITING

LESSON: INTERTEXTUALITY

INTERTEXTUALITY is

• A text's meaning is shaped by another text.

• It is about the interrelationship between related works or similar works of literature that mirror and influence how the audience interpret the text.

• It also refers to the author's borrowing and modification of a prior text or to a reader's referencing of one text in reading another.

Technically speaking, INTERTEXTUALITY is a combination of a Latin prefix Inter which means "between", "among", "in the midst of", "mutually", "together", and "reciprocally" and TEXTUALITY which refers to all attributes that determine the communicative content under analysis as an object of study. It is not a literary or rhetorical device, but rather a fact about literary texts - the fact that they are all intimately interconnected. This is applicable to all texts such as, works of philosophy, novels, films, newspaper articles, songs, and the like. In order to further understand intertextuality, it's important to understand the broad definition of the word "text" itself. Each text is greatly affected by all the texts that came before it, since those texts have influenced the author's thinking and exquisite choices. Remember that every text, on its broadest sense is intertextual.

Julia Kristeva was the inventor of the term "intertextuality." She was influenced by both Ferdinand de Saussure and Mikhail Bakhtinian through their models and attempts to combine their major theories toward the origin of language.

TYPES OF INTERTEXTUALITY

a. DELIBERATE INTERTEXTUALITY forging a relationship between the ond text and the new

b. LATENT INTERTEXTUALITY pertains to everything you've ever seen or read that sticks somewhere in your memory and affects your understanding of the world which contribute to building your specific worldview which, in turn, determines how you write or create art.

INTERTEXTUAL FIGURES

ALLUSION

a figure of speech where an object from unrelated context is referred to covertly or indirectly with another. It is left to the audience to do or make the direct connection. Where the connection is directly and explicitly stated by the author, it is instead usually termed a reference.

EXAMPLE : You don't have to be William Shakespeare to write poetry. (William Shakespeare was used here to explain ones prowess in writing poetry.)

QUOTATION

is a written form of the oral echo. It can be in tagged and untagged form. It can also be direct and indirect.

EXAMPLE : According to violin player Itzhak Perlman, "The most important thing to do is really listen."

CALQUE

is a loanword from the French noun calque which means tracing; imitation; close copy. It means to borrow a word or phrase from another language while translating its components, so as to create a new lexeme in the target language.

PLAGIARISM

when using intertextuality, it is usually a small excerpt of a hypotext that assists in the understanding of the new hypertext's original themes, characters or contexts. While this does seem to include intertextuality, the intention and purpose of using of another's work, this is now what allows intertextuality to be excluded from this definition.

TRANSLATION

means to transfer in a stable meaning. It is the process of translating words or text from one language into another.

PASTICHE

imitates the style or character of the work of one or more other artists.

PARODY

any cultural practice which provides a relatively polemical or comical allusive imitation of another cultural production or practice

[justkatrinadavid]

INTERTEXTUALITY is...

A text's meaning is shaped by another text.

It is about the interrelationship between related works or similar works of literature that mirror and influence how the audience interpret the text.

It also refers to the author's borrowing and modification of a prior text or to a reader's referencing of one text in reading another.

Technically speaking, intertextuality is a combination of a Latin prefix Inter which means "between", "among", "in the midst of", "mutually", "together", and "reciprocally" and Textuality which refers to all attributes that determine the communicative content under analysis as an object of study. It is not a literary or rhetorical device, but rather a fact about literary texts - the fact that they are all intimately interconnected. This is applicable to all texts such as, works of philosophy, novels, films, newspaper articles, songs, and the like. In order to further understand intertextuality, it's important to understand the broad definition of the word "text" itself. Each text is greatly affected by all the texts that came before it, since those texts have influenced the author's thinking and exquisite choices. Remember that every text, on its broadest sense is intertextual.

Julia Kristeva was the inventor of the term "intertextuality." She was influenced by both Ferdinand de Saussure and Mikhail Bakhtinian through their models and attempts to combine their major theories toward the origin of language.

Types of Intertextuality

a. Deliberate Intertextuality forging a relationship between the old text and the new one.

b. Latent Intertextuality pertains to everything you've ever seen or read that sticks somewhere in your memory and affects your understanding of the world which contribute to building your specific worldview which, in turn, determines how you write or create art.

Intertextual Figures

Allusion - a figure of speech where an object from unrelated context is referred to covertly or indirectly with another. It is left to the audience to do or make the direct connection. Where the connection is directly and explicitly stated by the author, it is instead usually termed a reference.

Ex. You don't have to be William Shakespeare to write poetry. (William Shakespeare was used here to explain ones prowess in writing poetry.)

Quotation- is a written form of the oral echo. It can be in tagged and untagged form. It can also be direct and indirect.

Ex. According to violin player Itzhak Perlman, "The most important thing to do is really listen."

Calque - is a loanword from the French noun calque which means tracing; imitation; close copy. It means to borrow a word or phrase from another language while translating its components, so as to create a new lexeme in the target language.

Plagiarism - When using intertextuality, it is usually a small excerpt of a hypotext that assists in the understanding of the new hypertext's original themes, characters or contexts. While this does seem to include intertextuality, the intention and purpose of using of another's work, this is now what allows intertextuality to be excluded from this definition.

Translation-means to transfer in a stable meaning. It is the process of translating words or text from one language into another.

Pastiche- imitates the style or character of the work of one or more other artists.

Parody-any cultural practice which provides a relatively polemical or comical allusive imitation of another cultural production or practice

[oldschoolcrimefighters]

A Quick Analysis of Arline

Arline Griscom*, wife of Shadow agent Cliff Marsland, is one of those characters whom I adore for her potential rather than for what made it onto the page -- because, to be frank, the page barely gives us anything to work with, and what it does give us kinda sucks.

(*Note: I tag her as Arline Marsland, but she never canonically takes his last name.)

She is in the canon so little that I can -- and will -- transcribe her every appearance in this one post without hitting the picture limit -- and then proceed to wring them for every drop of information I can get. Join me, won't you.

Arline's first, largest, and only named appearance is in #009: Mobsmen on the Spot.

Before her actual appearance, Cliff rudely compares Madge Benton to her.

She was attractive, despite her freakish mode of dress. Too many sparkling rings. Too much makeup. Her blond hair, although effective in appearance, indicated peroxide treatments. Cliff mentally compared the woman with others he remembered from years ago; the others profited by the comparison -- particularly one --

Madge deserves her own post another time, but for now: fuck off, Cliff.

Elsewhere, in a seemingly-unrelated plot thread, we meet Arline.

The door opened and a charming young woman entered. From her manner, one might have placed her age at thirty; her face appeared much younger -- almost girlish. She made a beautiful picture as she stood, exquisitely gowned, against the dim background of the doorway. She was evidently returning from a party. "Come in, Arline," said Howard Griscom, as the woman hesitated. "Arline, you know Mr Ballantyne. This gentleman is Mr Cranston." The girl extended her hand. Lamont Cranston received the clasp, and his keen eyes stared steadily into hers. Arline seemed solemn as she returned the gaze. There was something in those eyes that fascinated her. Their keenness made her think of eyes that she had seen long ago -- the eyes of another man, a man she had tried to forget. As Cranston released her hand, Arline crossed the room and kissed Howard Griscom. The theater owner smiled as he saw Cranston watching them from the door. "My only daughter," he said. "My only child, now.["]

A brief physical description and a not-so-subtle foreshadowing of her connection to the other person in this book who's pining for their ex.

This, the earlier comparison to Madge, and a later mention of her looking up at Cliff are the only physical descriptions she ever gets. Based on that we can deduce that she's intended to be medium-height or smaller, perhaps even petite given her 'girlishness'; she's conventionally attractive by 1930s standards so likely slender and pale, and probably a natural blond to contrast Madge's peroxide blond. She has an elegant but not overly flashy sense of style and understated makeup, again based on Cliff's contrasting impression of Madge.

(You might notice I don't draw her this way. I design her the way I do for Reasons but I won't get into them now because this post is about canon.)

Fifty pages later she returns, and she gets a line!

While Bud Sherman was setting up the camera, Arline Griscom entered the office. The woman smiled pleasantly at Lamont Cranston, who bowed in return. She spoke to her father; then she noticed the camera, and asked why it was there. [Griscom answers.] [Cranston muses.] ["]Saturday afternoon is a time to expect trouble." "What's is [sic] the matter, Daddy?" questioned Arline. "Nothing, dear," replied Griscom. "I am going down to the theater office. Come along with me. [...]" As Griscom and his daughter left the office, Cranston spoke to Sherman.

'Daddy' from a thirty-year-old woman is kinda iffy now but not an unusual word choice for these books so I give it a pass. This scene doesn't really accomplish anything except to further establish Arline as a presence in the narrative.

This book really needed another editing pass, but I'm not sure how many of the typos and punctuation errors are original and how many can be blamed on my New English Library print.

Back with Cliff, we learn Arline is a society dame.

["]You don't ever think of any other woman, do you?" "Not now." Cliff had been thinking of another woman, one whose photograph he had seen in the society section of yesterday's newspaper.

And Cliff is a dirty liar.

Anyway, later.

The door opened and his daughter entered. Arline was beautiful today. She bowed politely to Lamont Cranston; then walked forward to greet her father. With his arm on the young woman's shoulder. Howard Griscom walked into the other office, while Arline spoke consolingly. [...] [Cranston] bade goodbye to the Griscoms as he left. Arline remained with her father for several minutes. Then she, too, departed.

One more fairly pointless scene to establish her presence.

She proceeds to be kidnapped off-screen.

He paused to answer the telephone, which had begun to ring. Belden watched him with catlike stealth. "Arline?" questioned Griscom. "Yes? What!" His face turned ashen. "I can't believe it. Tell me -- where are you now? What's that? If I say a word it may mean death -- to you? Arline! Arline!"

Howard Griscom does not heed this warning and contacts the police, Cliff fortunately gets a tip-off from Madge that leads him to where Arline's been taken, and we get a proper scene!

On the cot sat a young woman[,] her head resting upon her hand. She was alone. Cliff entered and closed the door noiselessly. He approached. She looked up and suppressed a startled cry. "Arline!" whispered Cliff. Sudden recognition dawned upon the woman. Before she could respond, Cliff had gripped her shoulders and had raised her to her feet. He kissed her, with all the ardor of forgotten years; then suddenly, he stepped away and bowed his head. "Forgive me, Arline," he said. "Forgive me. I forgot--" "Forgot what, Cliff?["] The woman was clinging to him now. She was looking up with tear-dimmed, pleading eyes. "Forgot that I'm a jailbird," said Cliff bitterly. "Just out of Sing Sing -- a few weeks ago --" "I didn't know that, Cliff," said Arline. "I've been waiting for you, Cliff, hoping that you'd come back to me." "But Arline--" "I know everything, Cliff. My brother told me -- before he died. It was for him that you went to prison -- and for me, Cliff! He had gone wrong, Cliff -- after father sent him away in a fit of anger. "When he came to your room, fleeing from the police, you took the blame for the robbery he had committed. You fought them with the gun you had taken from him, while he escaped. "He told me months later, after he came back home. He died, you know, after a terrible illness. Father was broken, Cliff. It would have killed him -- that's why I couldn't speak. "Brother had killed a man, too, before the robbery. That was never laid to you. If it had been, I would have spoken. Oh, Cliff--" The woman's voice choked -- "Can't you see that I've been waiting -- that I love you -- love you with a greater, fuller love --" Thoughts of danger were forgotten. Cliff was kissing Arline's tear-stained cheeks. All the grief of years had passed in a moment. Arline knew -- she understood -- and Cliff had not told her. He had remained true to his vow that he would protect the name of the brother of the woman he loved!

Not that we ever learn that brother's name. Seriously, that's a little weird. That's not the only weird thing here but I'll get to that in a second cuz our lovebirds still got shit to take care of.

Cliff whispered to Arline. "There's a woman here," he said. "Where is she?" "In the next room," replied Arline. "It adjoins this one. That's where -- where the brute who brought me here stays. He went out -- with another man. They will be back soon. "The woman -- her name is Madge -- was locked in here with me. She found the door to the next room open; but it was bolted from the outside like this one. She's there now. We must get her--" Arline's head dropped forward. She was about to fall from the chair. Dropping his automatic on the cot, Cliff grasped her before she slipped to the floor. As he steadied her, Arline recovered her senses and smiled. "I'm all right, Cliff," she said. "I'm all right, Cliff--"

Bad timing for a faint, but men in this series faint all the time -- including her dad earlier -- so I'm not gonna dock anything for that.

However, this is as good a point as any to bring up that Arline... really has zero agency. Here, she and Madge are being held together, and it's only Madge who does anything about it. Arline stays behind with her head in her hands while Madge gets to a phone to call for help.

I can imagine scenarios where that's reasonable. What I can't fathom is that Arline never did anything about Cliff, the man she supposedly loves. Sure, her dad seems fragile and maybe trying to overturn the ruling would've killed him -- but she couldn't visit? She couldn't write? Her brother confessed after months, what the hell was she doing for seven years?

Especially considering that passivity is not reflected in her actions to follow.

They get caught, Cliff tries to go for the dropped gun but fails.

Cliff sprawled unconscious. Arline leaped toward him with a small cry of anguish. Shires caught her with one arm and laughed.

I won't transcribe the whole scene but Shires proceeds to manhandle Arline and try to kiss her. She slaps him, manages to break free and backs away against a wall.

Shires's boss Durgan then shoots him, mistaking him for the guy Madge has been sleeping around with.

Arline, startled and bewildered, had her first glimpse of sudden death when she saw the gangster crumple on the floor. Durgan stood above the body, gloating.

As Durgan quickly realizes his mistake, Arline also springs into action.

Arline Griscom realized Killer Durgan's intention. She had been horrified at the sight of death; now, her love for Cliff spurred her to desperation. She flung herself upon the brutal murderer and battled tooth and nail, while Cliff tried vainly to rise. With a mighty effort, Durgan flung the struggling woman against the wall. Before she could regain her feet, she saw his arm turn toward the corner where Cliff lay. Two shots roared. Arline screamed. Then she stared bewildered.

Of course, the shots were not from Durgan.

Then Arline realized whence the shots had come. The outer door of the room had opened. There stood a man in black, garbed in a flowing cloak. [...] Cliff was rising now. Arline could see his tense gaze directed toward the man in black. Cliff's lips were moving. "The Shadow!" he was saying. "The Shadow!" A low soft laugh came from the man in black. It was the strangest laugh that Arline had ever heard. It chilled her; it frightened her, for it carried a tone of menace. Yet, instinctively, she knew that the laugh was one of triumph -- that the man in black had come as a friend. She knew that she and Cliff had been saved[.] [...] [The Shadow] saw Arline rise to meet Cliff. Again The Shadow laughed. Suddenly, he turned and disappeared through the doorway. Cliff had fully regained his senses. The back of his head was aching; but he had one desire that made him forget that pain. He must take Arline from this room of horror! He steadied the woman with his arm. Together, they made their way to the hall. Before them lay an open door that led to a stairway. They followed the path ahead. They reached a side alley and walked through to the street beyond. Cliff hailed a cab. Arline leaned against him as they rode toward her home. She was weak, but happy. She had found the man she loved! He had come to rescue her, against great odds!

D'aww.

So... yeah. When the chips are down, she doesn't faint, she doesn't run, she doesn't sit back and scream (although those are all valid responses). She fights. She fights for herself, she fights for Cliff. She watches people get shot and she pulls herself together and goes after the killer with her bare hands.

You mean to tell me that this dainty little society lady did not lift a finger in seven-plus years but is ready to go toe to toe with a guy literally called Killer? Nah, that doesn't add up.

Back to the story, Shads goes to clear up some loose ends and we get an epilogue with Cliff and Arline.

Cliff Marsland was reading the latest copy of the New York Sphere. The newspaper was a week old. Arline Griscom smiled as she saw him devouring the reports. They were on their honeymoon in France. Howard Griscom had suggested the trip. Arline had told her father the truth about her brother. He had borne it easily, for the ending of his recent worries had made him able to stand a shock from the past. [...] Arline uttered an exclamation of delight as she saw a headline over Cliff's shoulder. She pointed to it.

The headline is about her dad's theater merger going through. Cliff has some thoughts about The Shadow's unstated role behind the various headlines, and then the book ends. Happy ending, they're married now, yaaay. (Although, as I noted before, she does not appear to take his last name.)

So here we have a character who is closely connected to a Shadow agent, who knows he works for The Shadow, and knows that The Shadow is a trusted friend -- but who doesn't work for him, herself. Is that not fascinating? What kind of wrinkles does her presence create? What skills does she bring to the table? How does she get utilized by the narrative?

The answer is, she... doesn't.

Cliff and Arline aren't in book 10. In #011: Double Z, Shads gathers his troops.

--another man who had business in New York was opening a letter at his breakfast table in his home in New Jersey. This was Cliff Marsland, a veteran of the World War, who had done his part in a recent campaign against the New York racketeers. [...] "Darling," he said to his wife, "I think it would be a good idea for you to take that Florida trip with your father. So plan to leave with him tonight. I have work to do that may take me away for a while--"

Scene change. She is not named. She doesn't get a reaction.

In the next book, #012: The Crime Cult, Cliff is once again on a job and making excuses for why he hasn't been in New York, but the truth is--

Cliff was married to the daughter of a theater owner. His wife and his father-in-law were now in Europe. During their absence, Cliff Marsland was back in service with The Shadow.

And then... that's it. She is never mentioned again. She doesn't die, she doesn't divorce Cliff, she's just quietly forgotten.

And it's such a waste.

I won't claim she's well-written or anything. I think I've made it clear here that she is not. She's mostly defined by the men in her life -- Cliff's wife, Griscom's daughter, even her unnamed brother -- and is passive to the point she barely exists away from the page.

But good god the potential is there, and that potential fascinates me.

I have so many thoughts and headcanons and questions about Arline, but this post is long enough, so I'll conclude with this:

I love Arline. I love Cliff being a happily married man. If I ever got a chance to make a Shadow adaptation, I would absolutely keep Arline around-- and delve into what she was getting up to for seven years, because I don't buy that she was just demurely attending society events while the man she loved languished in prison. No way.

I love her, your honor.

[multifairyus]

Hey There!

Welcome to my Lexicon of interests! My name is Multifairyus, (whatstheswitch if ya nasty 💋) and friends call me Fairy!

Skip to “Keep Reading” for my fandom stuff, stick around to know me better 💖

~*~*~*~*~*~*~*~*~*~

Demographics: HBCU & tertiary educated, neurodivergent, queer, zillenial Black-American woman

Occupation: IRL wizard and resident Hot Girl™️ of my laboratory

Interests: Exploring new cities, astrology, make-up, Dungeons and Dragons, Biblical hermeneutics, BDSM, womanism, JRPGs, social commentary/media analysis video essays, weed, orchestral/8-bit/bardcore/Lo-Fi covers of songs, internet/social media memes and culture, being beautiful on the inside and out, committing to the bit

(Tumblr Active) Fandoms: The Legendborn Cycle, Spider-Verse Cinnematic Universe, Kingdom Hearts, Percy Jackson and the Olympians, Critical Role, Megan Thee Stallion, Persona 5, Inu-Yasha

Social Media: @/multifairyus on all platforms. I’m pretty hot too ngl @/lexie.day just don’t be weird or get blocked

Fandom Styles: Playlist curation, headcannon/hot take sharing, fanfiction writing (eventually…), fandom community challenge issuer, fandom discord administration, comment section hypeman.

Genres: General, romance, friendship, found family dynamics, missing scenes/POV switches, porn w/feelings and porn w/warnings, angst with a happy ending, fluff, AUs.

Pro/Anti-Shipping: No. Shut up. Listen to her speak on it for my thoughts.

Asks?: The more fun, thought-provoking, or unhinged the better

DMs?: Yes if you interacted with my stuff. Hell yes if you’re Black and wanna cold open ask to be friends I love that stuff

Note: I like to reblog...a lot. If you aren't interested in one of these fandoms I recommend blocking some of these tags so you get what you signed up for with me: #legendborn #bloodmarked #ATSV #Hobie Brown #Spiderpunk.

That said I'm liable to go on a reblogging spree on any of my interests. My @ is a play on the word "multifarious" for a reason, lmao. I like a lot of stuff and I'm making it y'alls problem...adjust accordingly or develop exquisite taste that just so happens to be exactly like mine!

The Legendborn Cycle

Brelwyn Story Playlists

Volume I

Volume II

Fandom Challenges

• Kane Coded Bingo Challenge and Wrap-Up

Commissions

Birthday Firefly Kiss

Headcannons/Hot Takes

Legendborn AUs

Missing Moments in Volition

LBC and Queer Narratives

Erebus is Secretly a Brelwyn Shipper

Valec Carries Bloodmarked's Humor

Brelwyn & Kanthony

Spider-Verse Cinematic Universe

Playlists

(Hobie-inspired if not stated to be otherwise)

xReader Delulu Vibes (WIP)

A Doobie for your Thoughts (WIP)

Tik Tok Fan-Edit Trash (WIP)

Arachnakids Cover Band Setlist (WIP)

Headcannons/Hot Takes

• Hobie’s Grandma

Kthxbai 💖

[replicadeapplewatchp612d]

How to Spot a Fake Cartier Love Ring: A Comprehensive Guide

The Cartier Love Ring is one of the most coveted pieces of jewelry in the world. With its iconic design and luxurious reputation, it’s no wonder that counterfeit versions have flooded the market. Whether you’re considering buying a Cartier Love Ring for yourself or as a gift, knowing how to spot a fake is crucial. In this guide, we will walk you through the key features to look for, ensuring you invest in a genuine piece.

1. Understand the Design Details

Cartier is renowned for its meticulous attention to detail. The Love Ring features a smooth, polished band with a series of screws, which is a hallmark of its design. When assessing a ring, look for the following:

Weight: Real Cartier rings have a significant weight. If the ring feels too light, it may be a counterfeit.

Finish: Genuine Cartier pieces have a flawless finish, with no visible seams or rough edges. Examine the band closely for any imperfections.

Screw Design: The screws on the ring should be precisely placed and evenly spaced. If they seem off or uneven, it’s likely a fake.

2. Check for Hallmarks and Engravings

Authentic Cartier jewelry is always engraved with specific hallmarks. The inside of a genuine Love Ring should be marked with:

Cartier Logo: Look for the Cartier logo, which is typically in a serif font.

Metal Quality: The ring should be marked with the metal quality, such as 18K or 750 for gold. This indicates the purity of the metal used.

Serial Number: Genuine rings have a unique serial number engraved inside the band. This number can be verified with Cartier.

3. Examine the Packaging

When purchasing a Cartier Love Ring, always consider the packaging. Authentic Cartier products come in high-quality boxes with the Cartier logo. The box should feel sturdy and luxurious, with a soft lining. Pay attention to the following:

Box Quality: A flimsy or poorly made box is a red flag.

Documentation: Genuine purchases come with a certificate of authenticity and a warranty card. Ensure these documents are present.

4. Buy from Reputable Sources

One of the best ways to ensure you’re purchasing a genuine Cartier Love Ring is to buy from reputable sources. Luxury retailers and authorized Cartier boutiques are the safest options. However, if you’re considering purchasing online, ensure that the website is trusted. At Luxe Replica Watche, we provide a selection of high-quality replica jewelry that captures the essence of luxury without the hefty price tag. While it’s not the same as owning the original, our pieces allow you to enjoy the style without compromising on quality.

5. Compare Prices

Luxury items like Cartier rings come with a hefty price tag. If you find a Cartier Love Ring listed at a price that seems too good to be true, it probably is. Always compare prices across various platforms. Genuine pieces hold their value, while fakes are often sold at significantly reduced prices.

6. Consult an Expert

If you’re still unsure after conducting your own analysis, consider consulting a professional jeweler or an appraiser who specializes in luxury jewelry. They can provide a detailed inspection and verify the authenticity of the ring.

Conclusion

Owning a Cartier Love Ring is a dream for many jewelry enthusiasts, but the prevalence of fakes makes it essential to know how to spot a counterfeit. By understanding the design details, checking for hallmarks, examining packaging, buying from reputable sources like Luxe Replica Watche, comparing prices, and consulting experts, you can ensure that your investment is genuine.

For those who appreciate the aesthetic of luxury without the exorbitant cost, consider exploring our collection at Luxe Replica Watche, where we offer exquisite replicas that embody the spirit of high-end jewelry.

[piatosnacheese]

INTERTEXTUALITY is...

A text's meaning is shaped by another text.

It is about the interrelationship between related works or similar works of literature that mirror and influence how the audience interpret the text.

It also refers to the author's borrowing and modification of a prior text or to a reader's referencing of one text in reading another.

Technically speaking, intertextuality is a combination of a Latin prefix Inter which means "between", "among", "in the midst of", "mutually", "together", and "reciprocally" and Textuality which refers to all attributes that determine the communicative content under analysis as an object of study. It is not a literary or rhetorical device, but rather a fact about literary texts - the fact that they are all intimately interconnected. This is applicable to all texts such as, works of philosophy, novels, films, newspaper articles, songs, and the like. In order to further understand intertextuality, it's important to understand the broad definition of the word "text" itself. Each text is greatly affected by all the texts that came before it, since those texts have influenced the author's thinking and exquisite choices. Remember that every text, on its broadest sense is intertextual.

Julia Kristeva was the inventor of the term "intertextuality." She was influenced by both Ferdinand de Saussure and Mikhail Bakhtinian through their models and attempts to combine their major theories toward the origin of language.

Types of Intertextuality

a. Deliberate Intertextuality forging a relationship between the old text and the new one.

b. Latent Intertextuality pertains to everything you've ever seen or read that sticks somewhere in your memory and affects your understanding of the world which contribute to building your specific worldview which, in turn, determines how you write or create art.

Intertextual Figures

Allusion - a figure of speech where an object from unrelated context is referred to covertly or indirectly with another. It is left to the audience to do or make the direct connection. Where the connection is directly and explicitly stated by the author, it is instead usually termed a reference.

Ex. You don't have to be William Shakespeare to write poetry. (William Shakespeare was used here to explain ones prowess in writing poetry.)

Quotation- is a written form of the oral echo. It can be in tagged and untagged form. It can also be direct and indirect.

Ex. According to violin player Itzhak Perlman, "The most important thing to do is really listen."

Calque - is a loanword from the French noun calque which means tracing; imitation; close copy. It means to borrow a word or phrase from another language while translating its components, so as to create a new lexeme in the target language.

Plagiarism - When using intertextuality, it is usually a small excerpt of a hypotext that assists in the understanding of the new hypertext's original themes, characters or contexts. While this does seem to include intertextuality, the intention and purpose of using of another's work, this is now what allows intertextuality to be excluded from this definition.

Translation-means to transfer in a stable meaning. It is the process of translating words or text from one language into another.

Pastiche- imitates the style or character of the work of one or more other artists.

Parody-any cultural practice which provides a relatively polemical or comical allusive imitation of another cultural production or practice

[ashiiesstuff]

LECTURE

INTERTEXTUALITY is...

A text's meaning is shaped by another text.

It is about the interrelationship between related works or similar works of literature that mirror and influence how the audience interpret the text.

It also refers to the author's borrowing and modification of a prior text or to a reader's referencing of one text in reading another.

Technically speaking, intertextuality is a combination of a Latin prefix Inter which means "between", "among", "in the midst of", "mutually", "together", and "reciprocally" and Textuality which refers to all attributes that determine the communicative content under analysis as an object of study. It is not a literary or rhetorical device, but rather a fact about literary texts - the fact that they are all intimately interconnected. This is applicable to all texts such as, works of philosophy, novels, films, newspaper articles, songs, and the like. In order to further understand intertextuality, it's important to understand the broad definition of the word "text" itself. Each text is greatly affected by all the texts that came before it, since those texts have influenced the author's thinking and exquisite choices. Remember that every text, on its broadest sense is intertextual.

Julia Kristeva was the inventor of the term "intertextuality." She was influenced by both Ferdinand de Saussure and Mikhail Bakhtinian through their models and attempts to combine their major theories toward the origin of language.

Types of Intertextuality

a. Deliberate Intertextuality forging a relationship between the old text and the new one.

b. Latent Intertextuality pertains to everything you've ever seen or read that sticks somewhere in your memory and affects your understanding of the world which contribute to building your specific worldview which, in turn, determines how you write or create art.

Intertextual Figures

Allusion - a figure of speech where an object from unrelated context is referred to covertly or indirectly with another. It is left to the audience to do or make the direct connection. Where the connection is directly and explicitly stated by the author, it is instead usually termed a reference.

Ex. You don't have to be William Shakespeare to write poetry. (William Shakespeare was used here to explain ones prowess in writing poetry.)

Quotation- is a written form of the oral echo. It can be in tagged and untagged form. It can also be direct and indirect.

Ex. According to violin player Itzhak Perlman, "The most important thing to do is really listen."

Calque - is a loanword from the French noun calque which means tracing; imitation; close copy. It means to borrow a word or phrase from another language while translating its components, so as to create a new lexeme in the target language.

Plagiarism - When using intertextuality, it is usually a small excerpt of a hypotext that assists in the understanding of the new hypertext's original themes, characters or contexts. While this does seem to include intertextuality, the intention and purpose of using of another's work, this is now what allows intertextuality to be excluded from this definition.

Translation-means to transfer in a stable meaning. It is the process of translating words or text from one language into another.

Pastiche- imitates the style or character of the work of one or more other artists.

Parody-any cultural practice which provides a relatively polemical or comical allusive imitation of another cultural production or practice

[yensqtie]

LECTURE

INTERTEXTUALITY is...

A text's meaning is shaped by another text.

It is about the interrelationship between related works or similar works of literature that mirror and influence how the audience interpret the text.

It also refers to the author's borrowing and modification of a prior text or to a reader's referencing of one text in reading another.

Technically speaking, intertextuality is a combination of a Latin prefix Inter which means "between", "among", "in the midst of", "mutually", "together", and "reciprocally" and Textuality which refers to all attributes that determine the communicative content under analysis as an object of study. It is not a literary or rhetorical device, but rather a fact about literary texts - the fact that they are all intimately interconnected. This is applicable to all texts such as, works of philosophy, novels, films, newspaper articles, songs, and the like. In order to further understand intertextuality, it's important to understand the broad definition of the word "text" itself. Each text is greatly affected by all the texts that came before it, since those texts have influenced the author's thinking and exquisite choices. Remember that every text, on its broadest sense is intertextual.

Julia Kristeva was the inventor of the term "intertextuality." She was influenced by both Ferdinand de Saussure and Mikhail Bakhtinian through their models and attempts to combine their major theories toward the origin of language.

Types of Intertextuality

a. Deliberate Intertextuality forging a relationship between the old text and the new one.

b. Latent Intertextuality pertains to everything you've ever seen or read that sticks somewhere in your memory and affects your understanding of the world which contribute to building your specific worldview which, in turn, determines how you write or create art.

Intertextual Figures

Allusion - a figure of speech where an object from unrelated context is referred to covertly or indirectly with another. It is left to the audience to do or make the direct connection. Where the connection is directly and explicitly stated by the author, it is instead usually termed a reference.

Ex. You don't have to be William Shakespeare to write poetry. (William Shakespeare was used here to explain ones prowess in writing poetry.)

Quotation- is a written form of the oral echo. It can be in tagged and untagged form. It can also be direct and indirect.

Ex. According to violin player Itzhak Perlman, "The most important thing to do is really listen."

Calque - is a loanword from the French noun calque which means tracing; imitation; close copy. It means to borrow a word or phrase from another language while translating its components, so as to create a new lexeme in the target language.

Plagiarism - When using intertextuality, it is usually a small excerpt of a hypotext that assists in the understanding of the new hypertext's original themes, characters or contexts. While this does seem to include intertextuality, the intention and purpose of using of another's work, this is now what allows intertextuality to be excluded from this definition.

Translation-means to transfer in a stable meaning. It is the process of translating words or text from one language into another.

Pastiche- imitates the style or character of the work of one or more other artists.

Parody-any cultural practice which provides a relatively polemical or comical allusive imitation of another cultural production or practice

ELEMENTS OF DRAMA

1. Setting this refers to the time and the place in which the events occur in the story

2. Characters the people in the play and thus considered the principal material in drama.

Character Aspects:

a. Physical this considers the age, sexual category, size, race and color of the character as well as the external attributes which may be taken from the description of the playwright.

b. Social involves all aspects that can be imagined from the character's world or environment as exemplified by the his/her status, occupation, job or trade, creed and affiliation

c. Psychological this refers to the inner mechanism of the mind of the character as exemplified by his physical and emotional responses

d. Moral-the decisions of the characters, either socially acceptable or not, exposing intentions projecting what's just or not.

3. Plot lays down the series of events that form the entirety of the play. It's the

framework that unites the events to a cohesive form and sense.

4. Dialogue the exchange of words between the characters in a play

Monologue - words meant to be spoken by one actor

Soliloquies speeches spoken by a character alone on the stage

5. Staging the physical spectacle a play presents to the audience in a performance by the actors

Elements: (1) the stage set; (2) the different props and costumes used by the actors; (3) their movement onstage; and (4) the lighting and sound effects Blocking the actors' movement onstage during their delivery of the dialogue

Stage Business - the actors' nonverbal gestures

6. Theme considered as the unifying element that defines the dramatized idea of the play. It is the over-all implication of the action.

7. Style refers to the mode of expression or presentation of the play which points out the playwright's position or viewpoint in life.

Blaze

1 note

[lyniekyutie]

"LECTURE"

INTERTEXTUALITY is...

A text's meaning is shaped by another text.

It is about the interrelationship between related works or similar works of literature that mirror and influence how the audience interpret the text.

It also refers to the author's borrowing and modification of a prior text or to a reader's referencing of one text in reading another.

Technically speaking, intertextuality is a combination of a Latin prefix Inter which means "between", "among", "in the midst of", "mutually", "together", and "reciprocally" and Textuality which refers to all attributes that determine the communicative content under analysis as an object of study. It is not a literary or rhetorical device, but rather a fact about literary texts - the fact that they are all intimately interconnected. This is applicable to all texts such as, works of philosophy, novels, films, newspaper articles, songs, and the like. In order to further understand intertextuality, it's important to understand the broad definition of the word "text" itself. Each text is greatly affected by all the texts that came before it, since those texts have influenced the author's thinking and exquisite choices. Remember that every text, on its broadest sense is intertextual.

Julia Kristeva was the inventor of the term "intertextuality." She was influenced by both Ferdinand de Saussure and Mikhail Bakhtinian through their models and attempts to combine their major theories toward the origin of language.

Types of Intertextuality

a. Deliberate Intertextuality forging a relationship between the old text and the new one.

b. Latent Intertextuality pertains to everything you've ever seen or read that sticks somewhere in your memory and affects your understanding of the world which contribute to building your specific worldview which, in turn, determines how you write or create art.

Intertextual Figures

Allusion - a figure of speech where an object from unrelated context is referred to covertly or indirectly with another. It is left to the audience to do or make the direct connection. Where the connection is directly and explicitly stated by the author, it is instead usually termed a reference.

Ex. You don't have to be William Shakespeare to write poetry. (William Shakespeare was used here to explain ones prowess in writing poetry.)

Quotation- is a written form of the oral echo. It can be in tagged and untagged form. It can also be direct and indirect.

Ex. According to violin player Itzhak Perlman, "The most important thing to do is really listen."

Calque - is a loanword from the French noun calque which means tracing; imitation; close copy. It means to borrow a word or phrase from another language while translating its components, so as to create a new lexeme in the target language.

Plagiarism - When using intertextuality, it is usually a small excerpt of a hypotext that assists in the understanding of the new hypertext's original themes, characters or contexts. While this does seem to include intertextuality, the intention and purpose of using of another's work, this is now what allows intertextuality to be excluded from this definition.

Translation-means to transfer in a stable meaning. It is the process of translating words or text from one language into another.

Pastiche- imitates the style or character of the work of one or more other artists.

Parody-any cultural practice which provides a relatively polemical or comical allusive imitation of another cultural production or practiceELEMENTS OF DRAMA

1. Setting this refers to the time and the place in which the events occur in the story

2. Characters the people in the play and thus considered the principal material in drama.

Character Aspects:

a. Physical this considers the age, sexual category, size, race and color of the character as well as the external attributes which may be taken from the description of the playwright.

b. Social involves all aspects that can be imagined from the character's world or environment as exemplified by the his/her status, occupation, job or trade, creed and affiliation

c. Psychological this refers to the inner mechanism of the mind of the character as exemplified by his physical and emotional responses

d. Moral-the decisions of the characters, either socially acceptable or not, exposing intentions projecting what's just or not.

3. Plot lays down the series of events that form the entirety of the play. It's the

framework that unites the events to a cohesive form and sense.

4. Dialogue the exchange of words between the characters in a play

Monologue - words meant to be spoken by one actor

Soliloquies speeches spoken by a character alone on the stage

5. Staging the physical spectacle a play presents to the audience in a performance by the actors

Elements: (1) the stage set; (2) the different props and costumes used by the actors; (3) their movement onstage; and (4) the lighting and sound effects Blocking the actors' movement onstage during their delivery of the dialogue

Stage Business - the actors' nonverbal gestures

6. Theme considered as the unifying element that defines the dramatized idea of the play. It is the over-all implication of the action.

7. Style refers to the mode of expression or presentation of the play which points out the playwright's position or viewpoint in life.

[haroldjamesmaqui09]

INTERTEXTUALITY is...

A text's meaning is shaped by another text.

It is about the interrelationship between related works or similar works of literature that mirror and influence how the audience interpret the text.

It also refers to the author's borrowing and modification of a prior text or to a reader's referencing of one text in reading another.

Technically speaking, intertextuality is a combination of a Latin prefix Inter which means "between", "among", "in the midst of", "mutually", "together", and "reciprocally" and Textuality which refers to all attributes that determine the communicative content under analysis as an object of study. It is not a literary or rhetorical device, but rather a fact about literary texts - the fact that they are all intimately interconnected. This is applicable to all texts such as, works of philosophy, novels, films, newspaper articles, songs, and the like. In order to further understand intertextuality, it's important to understand the broad definition of the word "text" itself. Each text is greatly affected by all the texts that came before it, since those texts have influenced the author's thinking and exquisite choices. Remember that every text, on its broadest sense is intertextual.

Julia Kristeva was the inventor of the term "intertextuality." She was influenced by both Ferdinand de Saussure and Mikhail Bakhtinian through their models and attempts to combine their major theories toward the origin of language.

Types of Intertextuality

a. Deliberate Intertextuality forging a relationship between the old text and the new one.

b. Latent Intertextuality pertains to everything you've ever seen or read that sticks somewhere in your memory and affects your understanding of the world which contribute to building your specific worldview which, in turn, determines how you write or create art.

Intertextual Figures

Allusion - a figure of speech where an object from unrelated context is referred to covertly or indirectly with another. It is left to the audience to do or make the direct connection. Where the connection is directly and explicitly stated by the author, it is instead usually termed a reference.

Ex. You don't have to be William Shakespeare to write poetry. (William Shakespeare was used here to explain ones prowess in writing poetry.)

Quotation- is a written form of the oral echo. It can be in tagged and untagged form. It can also be direct and indirect.

Ex. According to violin player Itzhak Perlman, "The most important thing to do is really listen."

Calque - is a loanword from the French noun calque which means tracing; imitation; close copy. It means to borrow a word or phrase from another language while translating its components, so as to create a new lexeme in the target language.

Plagiarism - When using intertextuality, it is usually a small excerpt of a hypotext that assists in the understanding of the new hypertext's original themes, characters or contexts. While this does seem to include intertextuality, the intention and purpose of using of another's work, this is now what allows intertextuality to be excluded from this definition.

Translation-means to transfer in a stable meaning. It is the process of translating words or text from one language into another.

Pastiche- imitates the style or character of the work of one or more other artists.

Parody-any cultural practice which provides a relatively polemical or comical allusive imitation of another cultural production or practice

[totskie0421]

INTERTEXTUALITY is...

A text's meaning is shaped by another text.

It is about the interrelationship between related works or similar works of literature that mirror and influence how the audience interpret the text.

It also refers to the author's borrowing and modification of a prior text or to a reader's referencing of one text in reading another.

Technically speaking, intertextuality is a combination of a Latin prefix Inter which means "between", "among", "in the midst of", "mutually", "together", and "reciprocally" and Textuality which refers to all attributes that determine the communicative content under analysis as an object of study. It is not a literary or rhetorical device, but rather a fact about literary texts - the fact that they are all intimately interconnected. This is applicable to all texts such as, works of philosophy, novels, films, newspaper articles, songs, and the like. In order to further understand intertextuality, it's important to understand the broad definition of the word "text" itself. Each text is greatly affected by all the texts that came before it, since those texts have influenced the author's thinking and exquisite choices. Remember that every text, on its broadest sense is intertextual.

Julia Kristeva was the inventor of the term "intertextuality." She was influenced by both Ferdinand de Saussure and Mikhail Bakhtinian through their models and attempts to combine their major theories toward the origin of language.

Types of Intertextuality

a. Deliberate Intertextuality forging a relationship between the old text and the new one.

b. Latent Intertextuality pertains to everything you've ever seen or read that sticks somewhere in your memory and affects your understanding of the world which contribute to building your specific worldview which, in turn, determines how you write or create art.

Intertextual Figures

Allusion - a figure of speech where an object from unrelated context is referred to covertly or indirectly with another. It is left to the audience to do or make the direct connection. Where the connection is directly and explicitly stated by the author, it is instead usually termed a reference.

Ex. You don't have to be William Shakespeare to write poetry. (William Shakespeare was used here to explain ones prowess in writing poetry.)

Quotation- is a written form of the oral echo. It can be in tagged and untagged form. It can also be direct and indirect.

Ex. According to violin player Itzhak Perlman, "The most important thing to do is really listen."

Calque - is a loanword from the French noun calque which means tracing; imitation; close copy. It means to borrow a word or phrase from another language while translating its components, so as to create a new lexeme in the target language.

Plagiarism - When using intertextuality, it is usually a small excerpt of a hypotext that assists in the understanding of the new hypertext's original themes, characters or contexts. While this does seem to include intertextuality, the intention and purpose of using of another's work, this is now what allows intertextuality to be excluded from this definition.

Translation-means to transfer in a stable meaning. It is the process of translating words or text from one language into another.

Pastiche- imitates the style or character of the work of one or more other artists.

Parody-any cultural practice which provides a relatively polemical or comical allusive imitation of another cultural production or practice