READING and WRITING

• Learning Competency • Topic

• Identifies the context in • Context of Text
which a text was Development
developed • Hypertext
• Hypertext • Intertext
• Intertext
Hypertext and
Intertext
 Where did these come from?
• “But might I of Jove’s nectar sup, / I would not change
for thine”
a. Iliad
b. Song to Celia
c. Romeo and Juliet
d. A Red, Red Rose B
 Where did these come from?
• “Sophocles, long ago, heard it at the Aegean”
a. Oedipus Rex
b. Macbeth
c. Ode to the West Wind
d. Dover Beach
D
 Where did these come from?
• “Frailty, thy name is woman”
a. Hamlet
b. Wuthering Heights
c. Jane Eyre
d. Taming of the Shrew
A
 Where did these come from?
• “It is a truth universally acknowledged that a single man
in possession of a good fortune must be in want of a
wife”.
a. The Scarlet Letter
b. Persuasion
c. Little Women
d. Pride and Prejudice D
 Where did these come from?
• “It was the best of times, it was the worst of times”.
a. A Rose for Emily
b. To Kill a Mockingbird
c. A Tale of Two Cities
d. A Christmas Carol
C
 Where did these come from?
• “Finally, from so little sleeping and so much reading, his
brain dried up and he went completely out of his mind”.
a. One Hundred Years of Solitude
b. A Tale of Two Cities
c. East of Eden
d. Don Quixote D
 Where did these come from?
• “Two roads diverged in a wood, and I -- / I took the
one less traveled by./ And that has made all the
difference.”
a. The Road Not Taken
b. Stopping by the Woods on a Snowy Evening
c. The Raven
d. The Lorelei A
 Where did these come from?
• “Beauty is truth, truth beauty. / That is all ye know on
earth / And all ye need to know.”
a. Ode to the West Wind
b. Ode to a Nightingale
c. Ode to a Grecian Urn
d. Ode on a Skylark C
 Where did these come from?
• “Of Man’s first disobedience, and the fruit / Of that
forbidden tree whose mortal taste / Brought death into the
World and all our woe, / With loss of Eden, till one greater
Man / Restore us, and regain the Blissful seat. / Sing,
Heavenly Muse”.
a. Paradise Lost
b. Paradiso (The Divine Comedy)
c. Song of Roland
d. The Handsomest Drowned Man in the World
A
 Where did these come from?
• “So long as men can breathe and eyes can see, / So long
lives this, and this gives life to thee”.
a. Shall I compare thee to a summer’s day
b. My love is like to ice and I to fire
c. Let me not to the marriage of true minds…
d. Come, Sleep, O Sleep…

A
Identifying the Context
of Text Development
 Identifying the Context of Text
Development
• Being a critical reader also involves
understanding that texts are always developed
within a certain context.
• A text is neither written nor read in a vacuum;
• Its meaning and interpretation are affected by a
given set of circumstances.
 Identifying the Context of Text
Development
• THUS, context, is defined as the social,
cultural, political, historical, and other
related circumstances that surround
the text and form the terms from which it
can be better understood and evaluated.
 Identifying the Context of Text
Development
• Knowledge of the text’s context helps in
appreciating the text’s message more
deeply.
 Identifying the Context of Text
Development
• In discovering a reading’s context, you may ask
questions like:
• When was the work written?
• What were the circumstances that produced it?
• What issues does it deal with?
 Hypertext
• Hypertext presents a new way to read on-line text that differs from
reading standard linear text. Text is typically presented in a linear
form, in which there is a single way to progress through the text,
starting at the beginning and reading to the end.
• However, in hypertext, information can be represented in a
semantic network in which multiple related sections of the text are
connected to each other. A user may then browse through the
sections of the text, jumping from one text section to another. This
permits a reader to choose a path through the text that will be most
relevant to his or her interests.
Hypertext
 Hypertext
• The features in hypertext supply flexibility to the reader when
compared to reading linear text such as books. Clearly some
of this flexibility does exist in books (e.g. table of contents
and indexes), but it is not as widely used or exploited.
Hypertext permits readers to use these features automatically
rather than requiring readers to manually refer to them as
needed. This provides additional control to the reader in
determining the order that the text is to be read, and allows
the reader to read the text as if it were specifically tailored to
the reader's background and interests. This flexibility does
promise an advantage of personalization and eases the
burden of finding information.
 Intertext
• Intertextuality is the shaping of a text meaning by
another text. Intertextual figures include: allusion,
quotation, translation, pastiche and parody. An example
of intertextuality is an author’s borrowing and
transformation of a prior text or to a reader’s
referencing of one text in reading another.
 Intertext
• Derived from the Latin intertexto, meaning to intermingle while
weaving, intertextuality is a term first introduced by French
semiotician Julia Kristeva in the late sixties. In essays such as "Word,
Dialogue, and Novel," Kristeva broke with traditional notions of
the author's "influences" and the text's "sources," positing that all
signifying systems, from table settings to poems, are constituted by
the manner in which they transform earlier signifying systems.
• A literary work, then, is not simply the product of a single author,
but of its relationship to other texts and to the structures of
language itself. "[A]ny text," she argues, "is constructed of a mosaic
of quotations; any text is the absorption and transformation of
another.”
 Sample intertextuality
• The Lion, the Witch, and the Wardrobe by C.S. Lewis

• In this case, C.S. Lewis adapts the Christ’s crucifixion in

his fantasy novel, The Lion, the Witch and the Wardrobe. He, very
shrewdly, weaves together the religious and entertainment themes
for a children book. Lewis uses an important event from The New
Testament and transforms into a story about redemption. In doing
so, he uses Edmund, a character that betrays his savior, Aslan, to
suffer. Generally, the motive of this theme is to introduce other
themes such as evil actions, losing innocence and redemption.
 PASTICHE
• a literary piece that imitates another famous literary work
of another writer with the purpose of honoring it and
not mocking it. It is lighthearted but respectful in its
imitation.
• Examples of PASTICHE
• Rosencrantz and Guildenstern Are Dead (tragicomedy) by
Tom Stoppard
• The Traveler by Dave McClure
 The Traveler
Dave McClure
“Long ago upon a hilltop (let me finish
then I will stop)
I espied a curious traveler where no
traveler was before.
As I raised an arm in greeting all at
once he took to beating
at the air like one entreating passing
boats to come ashore
like a castaway repeating empty
movements from the shore
or an over-eager whore.”
 The Raven
Edgar Allan Poe

“Once upon a midnight dreary, while

I pondered, weak and weary,
Over many a quaint and curious
volume of forgotten lore,
While I nodded, nearly napping,
Suddenly there came a tapping,
As of someone gently rapping,
Rapping at my chamber door.
‘Tis some visitor’, I muttered,
‘tapping at my chamber door –
Only this, and nothing more.”
 Allusion
• indirect reference: an indirect reference to somebody or something
• a brief and indirect reference to a person, place, thing, or idea of
historical, cultural, literary, or political significance
• does not describe in detail the person or thing to which it refers
• is just a passing comment and the writer expects the reader to possess
enough knowledge to spot the allusion and grasp its importance in a
text
• Examples:
1. “ Don’t act like Romeo in front of her.”
2. The rise in poverty will unlock the Pandora’s box of crimes.
 PARODY
• Parody is an imitation of a particular writer, artist or a
genre, exaggerating it deliberately to produce a comic
effect. The humorous effect in parody is achieved by
imitating and overstressing noticeable features of a
famous piece of literature.
 Sonnet 130
William Shakespeare
My mistress’ eyes are nothing like the sun;
Coral is far more red than her lips’ red
If snow be white, why then her breasts are dun;
If hairs be wires, black wires grow on her head.
I have seen roses damasked, red and white,
But no such roses see I in her cheeks;
And in some perfumes is there more delight
Than in the breath that from my mistress reeks.
I love to hear her speak, yet well I know
That music hath a far more pleasing sound;
I grant I never saw a goddess go;
My mistress, when she walks, treads on the ground:
And yet, by heaven, I think my love as rare
As any she belied with false compare.

• cv
 Intertext

"Communication is too often taken for granted when

it should be taken to pieces."
-John Fiske
 Intertextual relations
2 Dimensions
Horizontal – relations that are between primary texts that are
more or less explicitly linked

Vertical – relation between a primary text and other texts of a

different type that refer to it (secondary and tertiary texts)
• Secondary texts – e.g., publicity, journalistic features,
criticism
• Tertiary texts – produced by viewers themselves – e.g.,
letters, gossip, conversation
 Function of Intertextuality
Majority of the writers borrow ideas from the previous works to give a
layer of meanings to their works. In fact, when readers read the new
text with reflection of another literary work, all related assumptions,
effects and ideas of other text provide them a different meaning and
changes the technique of interpretation of the original piece.
Since readers take influence from other texts, and while reading new
texts they sift through archives, this device gives them relevance and
clarifies their understanding of the new texts. For writers,
intertextuality allows them to open new perspectives and possibilities
to construct their story. Thus, writers may explore a particular ideology
in their narrative by discussing recent rhetoric in the original text.