Rad je deskriptivna studija slučaja provedena formalnom analizom obilježja (engl. gameplay) videoigre Vještac III: Divlja potjera (engl. Witcher III: Wild Hunt). Cilj je rada utvrđivanje postojanja, ...razina i pojavnih oblika intertekstualnosti i tematskih područja, a svrha je prikazati razine intertekstualnosti i niz različitih načina na koje ih videoigra koristi, što doprinosi njezinoj interaktivnosti i odražava se na zanimljivost obilježja igre te, posljedično, na njezinu privlačnost i uspješnost. Istraživanjem je utvrđeno da intertekstualnost postoji i da se pojavljuje na svim razinama igre, od njezine tematike, naslova i tema određenih misija do prikrivenih poruka. Intertekstualnost se u igri pojavljuje u verbalnom, pisanom i vizualnom obliku. U verbalnom obliku pojavljuje se kod interaktivnih, neinteraktivnih likova i pri upotrebi glazbe. Pisani se oblik pojavljuje u pismima, dokumentima i knjigama, ali i u imenima, nazivima područja i epitafima. Vizualna pojava intertekstualnosti implementirana je dizajnom okruženja videoigre i u umjetninama koje se nalaze u igri. Uz spomenuto, ističu se reference na samu igru unutar igre. S aspekta tematske pokrivenosti, intertekstualnost pokriva velik broj područja koja se isprepleću u odnosu na razine pojavnosti od kojih su najizraženija mitologija, reference na srednji vijek, književnost, likovnu i filmsku umjetnost, glazbu, kemiju, ekonomiju, gastronomiju, kao i općenita prožetost igre referencama na istraživače, otkrića i znanost. Istraživanje doprinosi boljem razumijevanju utjecaja i implementacije intertekstualnosti s aspekta izrade videoigara i s aspekta igranja videoigara.
This paper presents a descriptive case study based on the formal analysis of gameplay of the video game The Witcher III: Wild Hunt. The objective is to determine the occurrence, levels and thematic aspects of the phenomenon of intertextuality. The purpose of this research is to showcase the levels of intertextuality and several different ways in which it is used, all of which contribute to the game’s interactivity, game engagement and, consequently, its appeal and success. The research has shown that intertextuality permeates all levels of the game – starting from its theme, through the titles and storylines of certain quests, all the way to the hidden messages. Intertextuality in this video game takes on verbal, written and visual forms. In its verbal attire, it is present in interactive and non-interactive characters, but also in the music. In writing, it is visible in letters, documents and books, but also in personal names, site names and epitaphs. The visual phenomenon of intertextuality is implemented through the design of the video game environment and comes to light primarily through the artwork that can be seen within the game. An interesting expression of intertextuality at hand is the game’s meta-reference to itself. In terms of thematic coverage, intertextuality referred to herein encompasses a wide variety of intertwined areas in relation to incidence, the most prominent of which are mythology, references to the Middle Ages, literature, fine arts, film, music, chemistry, economics, gastronomy. Also, the game teems with mentions of researchers, discoveries and scientific facts. The research contributes to a better understanding of the implementation of intertextuality from both the aspect of creating and playing video games.
The media started the year 2020 with various conjectures about COVID-19 prophecies, as announced in films, novels and even the Bible. They did not even shy away from equating the consequences of the ...plague with the ones of COVID-19, triggering various racist and xenophobic slurs in readers’ comments. Through the aspect of intertextuality and intermediality, this paper describes the situation in the global media space during the COVID-19 pandemic. The intensive use of intertextuality and intermediality is caused by satisfying the needs of the audience to reduce the fear of the unknown and become familiar with new concepts and new situations by connecting familiar and new content. The excessive amount of unknowns that existed especially at the beginning of the pandemic had to be replaced by earlier experiences to make it easier for the audience to adopt the desired patterns of behavior. Once patterns of behavior are adopted, they begin to be used for commercial purposes as well.
The paper explores the linguistic and stylistic peculiarities of the recently published young adult novel Između Between, thematising the particularly complex topic of suicide, to determine which ...linguistic and stylistic means construct the world of the novel and how it communicates with young readers. Oral elements of a colloquial style and intertextuality (quotations) are singled out as the main stylistic features. The analysis shows that the novel approaches the young reader primarily by introducing oral elements, noticeably at the syntactic and lexical levels, and to a lesser extent at the morphological level. The means and tools for achieving intertextuality are reflected in the storyline-compositional level and in the portrayal of the characters; they appeal not only to musical, literary and film role models with which young people identify but also to the literary heritage that is most commonly not the focus of their interest. This is approached affirmatively, as a dynamic treasury or open canon, by establishing a quotation dialogue. These and other notable linguistic and stylistic features make this contemporary problem novel suitable for a young audience, for which it is intended.
The paper aims to elucidate the elementary premises of Ludwig Wittgenstein’s Philosophical Investigations based on the principle of “language games” through the prism of intertextuality within which ...his book leads an active dialogue with other texts, by its content belonging to the field of philosophy of language. Wittgenstein’s theory in which examined are the questions of the essence of language, philosophy and meaning, intertwines with the most relevant linguistic movements and theories – especially when the problem of specific perspective on the world is considered, the comparison of language and chess game, as well as the thinking about the inner language, a relation between language and thinking and deep and surface structures. Wittgenstein is being linked to Humboldt, then with the founder of general linguistics de Saussure, Vygotsky and his work Thinking and Speech, and Chomsky’s generative-transformative theory. Since Wittgenstein’s philosophy as a specific paradigm had a response in literature, Julio Cortázar’s Hopscotch, being a representative of postmodern novel, will be used as a form of language review and illustration of the described philosophical game.
Književnokritička recepcija Ujevićeva Oproštaja bila je bogata, a pokazuje da je pjesma, zbog tematskih i formalnih obilježja, bila naročito poticajna za proučavanje tragova i utjecaja koje su ...različiti književni kodovi ostavili u njezinu ustroju. Polazeći od radova Josipa Vončine, Pavla Pavličića i Dubravke Oraić Tolić, u radu se nastoje pokazati dominantne intertekstualne veze na koje pjesma upućuje kako bi se naglasilo da je usprkos jasnim tekstualnim signalima na razini jezika, grafije i retorike, koji upućuju na povezanost pjesme s hrvatskom ranonovovjekovnom književnosti, tematski sloj pjesme izrazito moderan. Stoga se Oproštaj iščitava na podlozi nekih središnjih poetskih tekstova francuskoga simbolizma, kao što su Baudelaireovo Putovanje i Rimbaudov Pijani brod, kako bi se pokazalo da pjesma uspostavlja podjednako aktivan odnos i prema književnoj dijakroniji i književnoj sinkroniji.
Criticism of popular music often does not take into account the fact that a song’s lyrics might have equal value to its melodic component, focusing instead on music only, or considering the lyrics a ...necessary, but essentially banal, part of the song’s meaning. This paper tries to rectify that fact, by focusing on the similarities and differences between traditional, written poetry and its popular form, pop and rock lyrics. The paper analyses the elementswhich constitute a poem’s (or a song’s) meaning and sound, such as its visual representation, its formal and metric features, figures of speech that focus on the aural dimension, or pronunciation of certain words. While similarities with dramatic works are also mentioned, the conclusion still remains that poetry is the form closest to pop and rock lyrics. Therefore, approaches that are traditionally used when nalysing written poetry, such as hermeneutic or intertextual, can undouubtedly be also used in the analysis of its popular counterpart, pop and rock lyrics.
Drama K svitanju (1927.) jedan je od prvih objavljenih tekstova dugo zanemarivane hrvatske spisateljice Side Košutić (1902. - 1965.). Uglavnom se klasificirala kao simbolička drama ili dijaloški ...poetski tekst, no sustavne analize zapravo nikada nisu bile provedene budući da se kritika uglavnom bavila njezinim romanima i lirskim pjesmama, kao dominantnima u njezinu opusu. U drami je nagoviještena tema sukoba oca i kćeri (s elementima upisivanja traumatičnog tjelesnog iskustva protagonistkinje), koji će književnica kroz čitavo svoje daljnje stvaranje u različitim žanrovima reinterpretirati i povezivati s mistikom trpljenja i žrtve u novozavjetnom ključu, što će činiti jezgru ontološkoga konstrukta u njezinim tekstovima. Zbog izrazite simbolizacije i alegorizacije dramskog diskursa te uključivanja fantastičnoga modusa, tekst je ondašnjoj publici ostao ponešto hermetičan, no pomnije čitanje otkriva poveznice s europskim klasicima (Tagore, Sofoklo, Shakespeare). Ipak, središnji dio ovoga istraživanja bit će usmjeren na dominantne elemente (tematsko-motivske, u simboličkom imaginariju i u strukturi teksta) koji ukazuju na biblijsku Pjesmu nad pjesmama kao mogući prototekst. Ispitat će se povezanost glavnih temata u drami s tematima unutar prototeksta te će ih se protumačiti u skladu s ontološkim konstruktom mistične borbe svjetla i tame, dobra i zla u pojedinačnim ljudskim sudbinama i svijetu, koji je Sida Košutić ovim ranim književnim tekstom tek započela graditi.
Cilj je istraživanja dokazati elemente koji ukazuju na dramu Side Košutić kao citatni, imanentno dijaloški tekst u odnosu prema prototekstu, čime se omogućuje njegova integracija u opće razvojne tendencije hrvatske dramske književnosti prvih desetljeća 20. stoljeća i pokazuje da i dramski dio opusa Side Košutić, premda malen, može naći svoje relevantno mjesto u nacionalnom kanonu.
We first specify Anton Vodnik’s role in literary history and his style. The article’s main interest is the distribution and types of intertextuality in his poetry from the inter-war period (Žalostne ...roke, 1922; Vigilije, 1923; Talitá, kumi, 1923) with regard to the Marian motif. We consider poems that are intertextually connected and influenced by the Bible, Rilke, Verlaine, Maeterlinck, Trakl, and Župančič. We also reveal intermedial relations with the early and high Renaissance, Pre-Raphaelite art, art nouveau decorative style, and paintings by the Kralj brothers. There are detailed intertextual analyses of the poems Oznanjenje The Annunciation, Ženitna v Kani The wedding feast at Cana and Immaculata.
Drugo simfonijo (1967) hrvaškega skladatelja Petra Bergama je potrebno analizirati v kontekstu zagrebškega Bienala, torej v kontekstu prevlade modernizma, ki ga je skladatelj razumel kot slepo ulico. ...Simfonija je zasnovana kot niz citatov in aluzij, ki lahko sprožajo široko polje asociacije, povezanih z logiko toka glasbene zgodovine. Takšni postopki so podobni postmodernističnim tehnikam, zato je mogoče skladbo Bergama razumeti kot proto-postmoderno delo.
Besedilo se osredotoča na medbesedilne povezave med opusoma slovaškega panslavistaJana Kollárja in slovensko-hrvaškega ilirca Stanka Vraza, posebej na večplasten vpliv Kollárjeve pesnitve Slávy dcera ...na Vrazovo prvo zbirko v ilirščini Djulabije. Orisane so Vrazove globinske povezave s češko kulturo, ki jo je med vsemi slovanskimi najbolj cenil in jo razumel kot osrednjo v slovanskih preporodih. V nadaljevanju besedilo strnjeno poudari tiste elemente opusa Jana Kollárja, ki so navdihnili Vraza, nazadnje pa se posveti obema deloma, od katerih je prvo že samo kompleksen primer medbesedilnosti.
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