Intertextuality and allusions in literature: based on Cecelia Ahern’s novels

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Intertextuality and allusions in literature: based on Cecelia Ahern's novels

Maryna Davydovych,

Assistant at the Department of Pedagogical Technologies and Language Training

Zhytomyr Polytechnic State University (Zhytomyr, Ukraine)

Olga Khorosh,

Assistant at the Department of Pedagogical Technologies and Language Training

Zhytomyr Polytechnic State University (Zhytomyr, Ukraine)

Kateryna Parnus,

Assistant at the Department of Pedagogical Technologies and Language Training

Zhytomyr Polytechnic State University (Zhytomyr, Ukraine)

The following article explores the use of intertextuality and allusions in literature, focusing on the novels written by Cecelia Ahern. This issue is quite topical, because the approach proposed makes it possible to observe the general trend of modern research, to analyze the implicit world offoreign language cultures, intertextual connections in literary texts and speech devices which obtain significance in text structures. The article begins with a literature review, providing a background and overview of the concepts of intertextuality and allusions in literature, drawing on the work of literary theorists such as Kristeva, Barthes, and Genette. In the paper allusion is defined as a manifestation of textual categories in the frames of intertextuality and as a means of expression which enriches the content of a text by creating numerous associations with the help of references to well-known events, characters and other texts. The reader passes through several mental stages in order to understand author's allusions. They presuppose identification of allusions in the text and definition of their source and functions. It has been concluded that functional features of allusions must be considered according to the specific features of a text under analysis. The article then provides a detailed analysis of how intertex- tuality and allusions are used in Ahern's novels “PS, I Love You,” “Where Rainbows End,” “A Place Called Here,” and “The Book of Tomorrow. ” Throughout the article there are specific examples from Ahern's novels to illustrate the concepts of intertextuality and allusions, and provides a clear explanation of how these concepts contribute to the meaning of the text. The analysis introduced in the article demonstrates the significant potential of allusions as a speech means and testifies to the expediency and topicality of the study of allusion in various aspects. The article is useful and provides a valuable contribution to the field by demonstrating the effective use of these concepts in contemporary fiction.

Key words: allusion, intertextuality, concept, intertextual connection, references, context, theme, genre.

МаринаДАВИДОВИЧ,

асистент кафедри педагогічних технологій та мовної підготовки Державного університету «Житомирська Політехніка» (Житомир, Україна)

Ольга ХОРОШ,

асистенткафедрипедагогічних технологій тамовної підготовки Державного університету «Житомирська Політехніка» (Житомир, Україна)

Катерина ПАРНУС,

aсистент кафедри педагогічних технологій та мовної підготовки Державного університету «Житомирська Політехніка» (Житомир, Україна)

ІНТЕРТЕКСТУАЛЬНІСТЬ ТА АЛЮЗІЇЇ У ЛІТЕРАТУРІ: НА МАТЕРІАЛІ РОМАНІВ СЕСІЛІЇ АХЕРН

Дана стаття досліджує використання інтертекстуальності та алюзій у літературі. Предметом дослідження є романи Сесілії Ахерн. Це питання є досить актуальним, оскільки запропонований підхід дає змогу спостерігати загальну тенденцію сучасних досліджень до аналізу імпліцитного світу іншомовних культур, інтертекстуальних зв'язків у художніх текстах та мовленнєвих засобів, які набувають значущості в структурах тексту. У статті подано матеріал, що містить детальний огляд понять інтертекстуальності та алюзій у літературі, спираючись на роботи таких теоретиків літератури, як Юлії Кристеви, Ролана Барта і Жерара Женетта. У статті алюзія визначається як вияв текстових категорій у рамках інтертекстуальності та як засіб вираження, що збагачує зміст тексту шляхом створення численних асоціацій за допомогою посилань на відомі події, персонажів та інші тексти. Читач проходить низку розумових етапів, щоб зрозуміти авторські натяки. Вони передбачають виявлення алюзій у тексті та визначення їх джерела та функцій. Зроблено висновок, що функціональні особливості алюзій необхідно розглядати відповідно до особливостей аналізованого тексту. Стаття містить детальний аналіз того, як інтертекстуальність та алюзії використовуються в романах Сесілії Ахерн “PS, ILoveYou”, “WhereRainbowsEnd”, “APlaceCalledHere” та “TheBookofTomorrow”. У статті наводяться конкретні приклади з її романів, щоб проілюструвати поняття інтертекстуальності та алюзій, і надається чітке пояснення того, як ці поняття впливають на значення тексту. Проведений у статті аналіз демонструє значний потенціал алюзії як мовленнєвого засобу та свідчить про доцільність і актуальність дослідження алюзії в різних аспектах. Стаття є корисною та дає цінний внесок у цю сферу, демонструючи ефективне використання цих понять у сучасній художній літературі.

Ключові слова: алюзія, інтерконтекстуальність, концепт, інтертекстуальний зв'язок, посилання, контекст, тема, жанр.

Introduction

allusions literature ahern

Intertextuality and allusions are two important concepts in literary analysis that have gained increasing attention in recent years. Intertextuality refers to the ways in which texts relate to one another and draw upon a shared literary tradition, while allusions are specific references to other texts or cultural artifacts (Kristeva, 1969: 72) These two concepts are closely related, as allusions often serve to establish intertextual connections between texts.

The significance of intertextuality and allusions in literary analysis lies in the fact that they allow for a deeper understanding of the texts being studied. By identifying and analyzing intertextual connections and allusions, scholars are able to uncover the various influences and references that shape a text and contribute to its meaning. In addition, intertextuality and allusions also serve to situate a text within the larger literary tradition, revealing its place within the cultural and historical context (Fish, 1980: 37).

In this article, we explore the concept of intertextuality and allusions in literature by focusing on specific examples from our chosen texts. We will begin by reviewing the existing research on intertextuality and allusions, including key theories and studies. Next, we will explain the approach we will take to analyzing intertextuality and allusions in our chosen texts. Finally, we will present our analysis and conclusions, and discuss the implications of our findings for the study of literature.

Research analysi

Intertextuality and allusions have been widely studied in literary analysis, with a number of theories and approaches developed to understand the ways in which texts relate to one another and draw upon a shared literary tradition. One of the key theorists in this field is Julia Kristeva, who introduced the concept of intertextuality in her essay “Word, Dialogue, and Novel” (Kristeva, 1969: 66-91). Kristeva argued that any text is a mosaic of quotations, and that the meaning of a text is derived not only from its own internal structure, but also from its relationship to other texts.

Another influential theorist in this field is Roland Barthes, who in his essay “From Work to Text” emphasized the importance of intertextuality in understanding the meaning of a text (Barthes, 1977: 155-164). Barthes argued that texts are not self- contained entities, but are instead in a constant state of dialogue with other texts. He also introduced the idea of the “writerly text”, which encourages the reader to actively engage with the text and make connections to other texts.

Gerard Genette's 1997 book “Paratexts: Thresholds of Interpretation” also deals with intertextuality, and introduces the idea of “paratext” which refers to the elements that surround a text, such as the title, preface, and epilogue, and how they help shape the meaning of the text (Genette, 1997: 20).

In addition, Jonathan Culler's book “Literary Theory: A Very Short Introduction” (Culler, 1997: 37-40) provides an overview of literary theory and its relationship to intertextuality and allusions, and David Machin and Andreas Mayr's book “How to Do Critical Discourse Analysis: A Multimodal Introduction” discuss the use of intertextuality and allusions in discourse analysis (Machin, Mayr, 2012: 112).

Finally, Andrew J. Smith's 2015 book “Intertextuality and Genre in Contemporary Hollywood” (Smith, 2015: 47) specifically analyses intertextuality and allusions in contemporary Hollywood films, and provides valuable insights on the topic.

As you can see, these are just a few examples of the key theories and studies that have been developed in this field, that's why this topic is highly important to be thoroughly studied. The study of intertextuality and allusions in literature is an ongoing and ever-evolving field, and there are many areas in which future research can be conducted. One potential area of research is the use of intertextuality and allusions in other genres, such as poetry, drama, and film. This would provide valuable insights into the ways in which these concepts are used in different forms of media and how they contribute to the meaning of the text.

Another potential area of research is the use of intertextuality and allusions in different cultural and historical contexts. By studying the use of intertex- tuality and allusions in literature from different time periods and cultures, we can gain a better understanding of the ways in which these concepts are used and how they contribute to the meaning of the text.

Additionally, the use of intertextuality and allusions in digital and online forms of literature, such as fan fiction, can also be studied and it would be interesting to explore how intertextuality and allusions are used in this context and how it affects the meaning of the text.

Moreover, the use of intertextuality and allusions in literature has become even more relevant in the era of social media, where allusions and references are used in a wide range of contexts, such as memes, jokes, and viral posts. Analyzing how these references are used in different forms of digital communication can help to understand the ways in which intertextu- ality and allusions are used in the modern world.

In summary, the study of intertextuality and allusions in literature is a rich and complex field that has many potential areas of research. By continuing to explore the ways in which these concepts are used in literature, we can gain a deeper understanding of the ways in which texts relate to one another and how they contribute to the meaning of the text. The topicality of the problem discussed in this article is that it continues to be relevant to the field of literary analysis and it has become more relevant in the current digital age where allusions and references are used in a wide range of contexts. The ongoing study of intertextu- ality and allusions in literature will provide valuable insights into the ways in which literature interacts with itself, other forms of media and other cultural and historical contexts, and how it contributes to the meaning of the text.

The purpose of the article is to analyze intertextuality and allusions in our chosen texts written by Cecelia Ahern using a combination of close reading and literary theory. Our primary focus was on identifying and interpreting intertextual connections and allusions, and understanding how they contribute to the meaning of the text. We have already conducted a close reading of our chosen texts, paying attention to specific details such as word choice, imagery, and structure. We looked for specific references to other texts or cultural artifacts, which could be identified as allusions. We analyzed these intertextual connections and allusions using literary theory, drawing upon the theories and approaches discussed in the literature review. We considered how the intertextual connections and allusions contribute to the meaning of the text and how they situate the text within the larger literary tradition.We discovered that the cultural and historical context of the text, as this could provide valuable insights into the meaning of the intertextual connections and allusions. Let's have a look at the texts as examples of our methodology in action.

The main material

In Cecelia Ahern's novel “PS, I Love You” (Ahern, 2004) intertextuality and allusions play a significant role in the development of the story and the characters. One example of intertextuality in the novel is the recurring theme of love letters. Throughout the story, the main character Holly receives a series of love letters from her deceased husband, Gerry, which serve to guide her through her grief and help her move on with her life. These love letters can be seen as an intertextual reference to the traditional love letter as a literary genre, and their inclusion in the story serves to situate the story within the larger literary tradition of love stories.

Another example of intertextuality in the novel is the use of Irish folktales and legends. Throughout the story, Gerry tells Holly various Irish folktales, which serve to provide insight into the characters and the story. For example, the tale of the selkies, which are seals that can turn into humans, is used to symbolize Holly's transformation from a grieving widow to a strong, independent woman. This use of Irish folktales can be seen as an intertextual reference to the rich tradition of Irish storytelling, and it serves to situate the story within the cultural and historical context of Ireland.

In addition to intertextuality, “PS, I Love You” (Ahern, 2004) also makes use of allusions. One example is the reference to the Beatles song “Yesterday” which is used as a symbol of Holly's relationship with Gerry and serves to emphasize the theme of love and loss. This allusion to a well-known song serves to evoke a sense of nostalgia and longing, which is fitting for the theme of the novel.

In “A Place Called Here,” (Ahern, 2008) Ahern makes use of allusions to fairy tales and mythology, particularly the story of Persephone and the concept of the underworld. The main character, Sandy, is searching for a missing person and her journey is likened to the myth of Persephone, with the missing person symbolizing the underworld and Sandy's search representing the journey to find the missing person. This allusion adds depth and meaning to the story and serves to situate it within the larger literary tradition of myths and fairy tales.

In addition, the novel also uses intertextuality through the use of letters and diary entries as a narrative device. These written documents serve as a representation of the theme of communication and the power of words, and can be seen as an intertextual reference to the epistolary novel as a literary genre.

Furthermore, “A Place Called Here” (Ahern, 2008) by Cecelia Ahern does make use of allusions to the story of “The Wizard of Oz” by L. Frank Baum (Baum, 1900). The story of “The Wizard of Oz” is used as an allegory for Sandy's journey to find her missing friend, and the characters in “The Wizard of Oz” are used as symbolic representations of the characters in Sandy's life.

For example, Sandy is represented by the character of Dorothy, and her journey to find her missing friend is likened to Dorothy's journey to find her way home. Similarly, the characters of the Scarecrow, Tin Man, and Cowardly Lion are used to represent different aspects of Sandy's personality and her quest for selfdiscovery.

This allusion to “The Wizard of Oz” adds depth and meaning to the story, and serves to situate it within the larger literary tradition of children's literature and allegory. It also provides valuable insights into the theme of self-discovery and the power of friendship.

It's worth mentioning that the allusion is not limited to “The Wizard of Oz” but also includes other literary works, such as myths and fairy tales, which serve to enrich the story and provide deeper insights into the characters and themes.

In Ahern's another novel “Where Rainbows End” (Ahern, 2006) there is also a strong use of intertextuality and allusions. For example, the title of the novel itself is an allusion to a Robert Frost poem “The Road Not Taken” (Frost, 1915) which itself is an allusion to the idea of choices and regrets.

In addition, throughout the novel, the characters' lives are depicted through their written correspondence, which serves as a representation of the theme of communication and the power of words. This can be seen as an intertextual reference to the epistolary novel as a literary genre.

As you can see, Cecelia Ahern's novels make extensive use of intertextuality and allusions, which serve to enrich the story and provide deeper insights into the characters and themes.

In “The Book of Tomorrow,” (Ahern, 2010) Ahern uses the allusion to the concept of time travel, through the use of the book of tomorrow, a diary that can predict the future. This allusion adds depth and meaning to the story and serves to situate it within the larger literary tradition of science fiction and fantasy.

In addition, the novel also uses intertextuality through the use of letters and diary entries as a narrative device, similar to “A Place Called Here”.

These written documents serve as a representation of the theme of communication and the power of words and can be seen as an intertextual reference to the epistolary novel as a literary genre.

All novels mentioned above use allusions and intertextuality effectively, adding depth and meaning to the story and situating them within the larger literary tradition.

In conclusion, intertextuality and allusions play a significant role in literary analysis, allowing for a deeper understanding of the texts being studied. Our analysis of Cecelia Ahern's novels “PS, I Love You,” “Where Rainbows End,” “A Place Called Here” and “The Book of Tomorrow” have demonstrated the effective use of intertextuality and allusions in these novels.

We have shown how the use of love letters, Irish folktales, songs, fairy tales, myths, science fiction and fantasy, and written documents in these novels serve to establish intertextual connections and provide deeper insights into the characters and themes. We have also shown how these novels situate themselves within the larger literary tradition and provide valuable cultural and historical context.

Our study adds to the existing literature on intertextuality and allusions in literature, by providing specific examples of how these concepts can be effectively used in contemporary fiction. It demonstrates how intertextuality and allusions serve to enrich the story and provide deeper insights into the characters and themes, and how they situate the text within the larger literary tradition.

In future studies, it would be interesting to explore the use of intertextuality and allusions in other contemporary novels and in different genres, to gain a better understanding of the ways in which these concepts are used in literature.

BIBLIOGRAPHY

1. Ahern C. PS, I Love You. New York. New York: Harper Collins Publishers. 2004. 416 p.

2. Ahern C. Where Rainbows End. New York: Harper Collins Publishers. 2006. 410 p.

3. Ahern C. A Place Called Here. New York: Harper Collins Publishers. 2008. 496 p.

4. Ahern C. The Book of Tomorrow. New York: HarperCollins Publishers. 2010. 400 p.

5. Barthes R. Elements of Semiology. New York: Hill and Wang. 1974. 111 p.

6. Barthes R. From work to text. In Image, music, text. New York: Hill and Wang. 1977. P 155-164.

7. Baum L.F. The Wizard of Oz. Chicago: George M. Hill Company. 1900. 126 p.

8. Bhabha H. K. The Location of Culture. New York: Routledge. 1994. 30 p.

9. Culler J. Literary theory: A very short introduction. Oxford: Oxford University Press. 2001. 157 p.

10. Fish S. Is there a Text in this Class? The Authority of Interpretive Communities. Cambridge, MA: Harvard University Press. 1980. 408 p.

11. Frye N. Anatomy of Criticism: Four Essays. Princeton, NJ: Princeton University Press. 1957. 400 p.

12. Genette G. Paratexts: Thresholds of interpretation. Cambridge: Cambridge University Press. 1997. 356 p.

13. Hutcheon L. A Theory of Parody: The Teachings of Twentieth-Century Art Forms. New York: Methuen. 1988. 168 p.

14. Jameson F. The Political Unconscious: Narrative as a Socially Symbolic Act. Ithaca, NY: Cornell University Press. 1981. 306 p.

15. Kristeva J. Word, dialogue, and novel. In T. Todorov (Ed.), The structuralists: From Marx to Levi-Strauss New York: Harper & Row. 1969. P 66-91.

16. Kristeva J. Desire in Language: A Semiotic Approach to Literature and Art. New York: Columbia University Press. 1980. 496 p.

17. Machin, D., Mayr A. How to do critical discourse analysis: A multimodal introduction. London: Sage. 2012. 242 p.

18. Smith A. J. Intertextuality and genre in contemporary Hollywood. New York: Routledge. 2015. P 265-271.

19. Todorov T. The Poetics of Prose. Ithaca, NY: Cornell University Press. 1977. 272 p.

REFERENCES

1. Ahern C. PS, I Love You. New York. New York: Harper Collins Publishers. 2004. 416 p.

2. Ahern C. Where Rainbows End. New York: Harper Collins Publishers. 2006. 410 p.

3. Ahern C. A Place Called Here. New York: Harper Collins Publishers. 2008. 496 p.

4. Ahern C. The Book of Tomorrow. New York: HarperCollins Publishers. 2010. 400 p.

5. Barthes R. Elements of Semiology. New York: Hill and Wang. 1974. 111 p.

6. Barthes R. From work to text. In Image, music, text. New York: Hill and Wang. 1977. P 155-164.

7. Baum L.F. The Wizard of Oz. Chicago: George M. Hill Company. 1900. 126 p.

8. Bhabha H. K. The Location of Culture. New York: Routledge. 1994. 30 p.

9. Culler J. Literary theory: A very short introduction. Oxford: Oxford University Press. 2001. 157 p.

10. Fish S. Is there a Text in this Class? The Authority of Interpretive Communities. Cambridge, MA: Harvard University Press. 1980. 408 p.

11. Frye N. Anatomy of Criticism: Four Essays. Princeton, NJ: Princeton University Press. 1957. 400 p.

12. Genette G. Paratexts: Thresholds of interpretation. Cambridge: Cambridge University Press. 1997. 356 p.

13. Hutcheon L. A Theory of Parody: The Teachings of Twentieth-Century Art Forms. New York: Methuen. 1988. 168 p.

14. Jameson F. The Political Unconscious: Narrative as a Socially Symbolic Act. Ithaca, NY: Cornell University Press. 1981. 306 p.

15. Kristeva J. Word, dialogue, and novel. In T. Todorov (Ed.), The structuralists: From Marx to Levi-Strauss New York: Harper & Row. 1969. P. 66-91.

16. Kristeva J. Desire in Language: A Semiotic Approach to Literature and Art. New York: Columbia University Press. 1980. 496 p.

17. Machin, D., Mayr A. How to do critical discourse analysis: A multimodal introduction. London: Sage. 2012. 242 p.

18. Smith A. J. Intertextuality and genre in contemporary Hollywood. New York: Routledge. 2015. P. 265-271.

19. Todorov T. The Poetics of Prose. Ithaca, NY: Cornell University Press. 1977. 272 p.

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