Peculiarities of intertextuality types’ verbalization in T. Pratchett and N. Gaiman’s novel “Good Omens”
DOI:
https://doi.org/10.32782/2617-3921.2023.24.7-15Keywords:
meta-genre, fantasy, the category of intertextuality, intertextuality types, intertextuality proper, hypertextuality, paratextuality, intertextuality verbalization forms.Abstract
The article dwells on the peculiarities of textual realization of intertextuality types in the fantasy novel “Good Omens” by T. Pratchett and N. Gaiman. It is proposed to regard intertextuality as a textual and discursive category setting and maintaining interconnections and interrelations of two or more texts, one being a space of linguocultural and semantic repercussions of others. The literary meta-genre of fantasy, being a blend of the imaginary world-image creation and depiction techniques, represents a perfect discursive environment for various texts’ interplay as different cultural signs and value systems. With a view to reaching the aim of the research – identifying the linguocultural code representation in the literary text in question via describing intertextual types’ verbalization – interpretative-textual, contextual and intertextual analyses were employed which allowed to pick, classify and qualitatively interpret the relevant textual sequences, to work out the contextual meaning of the language units analyzed, to distinguish cases of intertextual ties manifestation in the novel under study. The textual fabric of the fantasy novel “Good Omens”, having been conceived as a parody of another literary work, abounds with verbalization of such intertextuality types as intertextuality proper (with its verbalization forms: quotations, allusions, reminiscences and stylization), paratextuality and hypertextuality. The interrelation of the text under analysis with prior text from earlier historical epochs constituting poetic (works by D. Alighieri, J. Milton, W. B. Yeats), prosaic (works by W. Shakespeare, G. Orwell), musical (song lyrics of the British music band “Queen”), cinematographic (adventure and horror films), religious (the Bible) and mythological (the ancient English folklore) discourses has been maintained in order to glean insights into linguocultural code representation and decipher the system of messages ingrained in the analyzed work.
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