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CREATIVE WRITING- INTERTEXTUALITY- MODULE

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• 1. S.Y. 2020-2021 NAVOTAS CITY PHILIPPINES DIVISION OF NAVOTAS CITY CREATIVE WRITING Quarter 2 – Module 2: Intertextuality in Drama
• 2. Creative Writing – Senior High School Alternative Delivery Mode Quarter 2 – Module 2: Intertextuality in Drama First Edition, 2020 Republic Act 8293, section 176 states that: No copyright shall subsist in any work of the Government of the Philippines. However, prior approval of the government agency or office wherein the work is created shall be necessary for exploitation of such work for profit. Such agency or office may, among other things, impose as a condition the payment of royalties. Borrowed materials (i.e., songs, stories, poems, pictures, photos, brand names, trademarks, etc.) included in this module are owned by their respective copyright holders. Every effort has been exerted to locate and seek permission to use these materials from their respective copyright owners. The publisher and authors do not represent nor claim ownership over them. Published by the Department of Education Secretary: Leonor Magtolis Briones Undersecretary: Diosdado M. San Antonio Printed in the Philippines by ________________________ Department of Education – Navotas City Office Address: BES Compound M. Naval St. Sipac-Almacen Navotas City ______________________________________________ Telefax: ______________________________________________ E-mail Address: ______________________________________________ Development Team of the Module Writers: Hazel M. Santorce Editors: Cecilia S. De Ocampo Reviewers: Marco D. Meduranda Illustrator: Layout Artist: Hazel M. Santorce Management Team: Alejandro G. Ibañez, OIC- Schools Division Superintendent Isabelle S. Sibayan, OIC- Asst. Schools Division Superintendent Loida O. Balasa, Chief, Curriculum Implementation Division Marco D. Meduranda, EPS in English Grace R. Nieves, EPS In Charge of LRMS Lorena J. Mutas, ADM Coordinator Editha O. Peregrino, Division SHS Focal Person Shirley Eva Marie V. Mangaluz, Librarian II LRMS Vergel Junior C. Eusebio, PDO II LRMS 02-8332-77-64 [email protected]
• 3. CREATIVE WRITING Quarter 2 – Module 2: Intertextuality in Drama
• 4. ii Introductory Message For the facilitator: Welcome to the Creative Writing for Senior High School Alternative Delivery Mode (ADM) Module on Intertextuality in Drama. This module was collaboratively designed, developed and reviewed by educators both from public and private institutions to assist you, the teacher or facilitator in helping the learners meet the standards set by the K to 12 Curriculum while overcoming their personal, social, and economic constraints in schooling. This learning resource hopes to engage the learners into guided and independent learning activities at their own pace and time. Furthermore, this also aims to help learners acquire the needed 21st century skills while taking into consideration their needs and circumstances. In addition to the material in the main text, you will also see this box in the body of the module: As a facilitator, you are expected to orient the learners on how to use this module. You also need to keep track of the learners' progress while allowing them to manage their own learning. Furthermore, you are expected to encourage and assist the learners as they do the tasks included in the module. Notes to the Teacher This contains helpful tips or strategies that will help you in guiding the learners.
• 5. iii For the learner: Welcome to the Creative Writing for Senior High School Alternative Delivery Mode (ADM) Module on Intertextuality in Drama. This module was designed to provide you with fun and meaningful opportunities for guided and independent learning at your own pace and time. You will be enabled to process the contents of the learning resource while being an active learner. This module has the following parts and corresponding icons: What I Need to Know This will give you an idea of the skills or competencies you are expected to learn in the module. What I Know This part includes an activity that aims to check what you already know about the lesson to take. If you get all the answers correct (100%), you may decide to skip this module. What’s In This is a brief drill or review to help you link the current lesson with the previous one. What’s New In this portion, the new lesson will be introduced to you in various ways; a story, a song, a poem, a problem opener, an activity or a situation. What is It This section provides a brief discussion of the lesson. This aims to help you discover and understand new concepts and skills. What’s More This comprises activities for independent practice to solidify your understanding and skills of the topic. You may check the answers to the exercises using the Answer Key at the end of the module. What I Have Learned This includes questions or blank sentence/paragraph to be filled into process what you learned from the lesson. What I Can Do This section provides an activity which will help you transfer your new knowledge or skill into real life situations or concerns. Assessment This is a task which aims to evaluate your level of mastery in achieving the learning competency.
• 6. iv Additional Activities In this portion, another activity will be given to you to enrich your knowledge or skill of the lesson learned. Answer Key This contains answers to all activities in the module. At the end of this module you will also find: The following are some reminders in using this module: 1. Use the module with care. Do not put unnecessary mark/s on any part of the module. Use a separate sheet of paper in answering the exercises. 2. Don’t forget to answer What I Know before moving on to the other activities included in the module. 3. Read the instruction carefully before doing each task. 4. Observe honesty and integrity in doing the tasks and checking your answers. 5. Finish the task at hand before proceeding to the next. 6. Return this module to your teacher/facilitator once you are through with it. If you encounter any difficulty in answering the tasks in this module, do not hesitate to consult your teacher or facilitator. Always bear in mind that you are not alone. We hope that through this material, you will experience meaningful learning and gain deep understanding of the relevant competencies. You can do it! References This is a list of all sources used in developing this module.
• 7. 1 This module was designed and written with you in mind. It is here to help you master the Southeast Asian music. The scope of this module permits it to be used in many different learning situations. The language used recognizes the diverse vocabulary level of students. The lessons are arranged to follow the standard sequence of the course. But the order in which you read them can be changed to correspond with the textbook you are now using. The module is divided into several lessons, namely: After going through this module, you are expected to: a. defines intertextuality and its types; b. identifies the intertextual figures; and c. understand intertextuality as a technique of drama. HUMSS_CW/MPIj- IIc-16
• 8. 2 Directions: Encircle the letter of the best answer. 1. Which of the following statements is the best intertextuality definition? A. The relationship between texts. B. Allusions from one text to another. C. The translation of a text into a different language. D. It invites traditional interpretations as it brings another context into the text. 2. Which of the following would not be an example of intertextuality? A. A translation of one work into a different language. B. A poetic homage to an earlier writer by adopting the writer’s theme and tone. C. The main characters of two unrelated works coincidentally both named Bob. D. The variations of difference languages, different interpretations and theme used in the intertextuality. 3. Which of the following statements is not TRUE about intertextuality? A. It is the way that one text influences another. B. The effectiveness of intertextuality depends in a quite a bit on the reader’s present knowledge. C. The definition of intertextuality was created by the French semiotician Julia Kristeva in the 1960s. D. This can be a direct borrowing such as a quotation or plagiarism, or slightly more indirect such as parody, pastiche, allusion, or translation. 4. Intertextuality can take place _____________________________? A. With the same medium or style B. Across mediums or styles C. Across cultures D. All of the above 5. Which of the following is a “text”? A. Novels B. Movies C. Songs D. All of the above
• 9. 3 Lesson 1 Intertextuality As A Literary Device Have you tried to borrow phrases and concepts from other works in your own? Do you know what is it called? Have you watch a movie or drama that has a resemblance with each other when it comes to the plot, characters, setting and many others? Though it sounds intimidating at first, it’s quite a simple concept really: Intertextuality denotes the way in which texts (any text, not just literature) gain meaning through their referencing or evocation of other texts.
• 10. 4 Directions: Write the title of the movies/dramas and its description that you think it has a resemblance in the characters. Title of the movie/drama and its description Title of the movie/drama and its description Title of the movie/drama and its description Title of the movie/drama and its description Character/s: Character/s: Character/s: Character/s:
• 11. 5 FILL ME IN, PARODY! Directions: Create your own Parody using the song “Call Me Maybe.” Think of a concept to your lyrics. Take note that your concept will not be the same with the original song. Show your creativity. Song Title: ____________________________________________ Concept: ______________________________________________
• 12. 6 Literary Technique Composers define this as the most powerful technique to create multiple layers of meaning. That is why you need to have a wide knowledge of different texts in order to identify the different intertextuality. Reading and expanding your bank of books, poems, films and plays are very important. What is intertextuality It refers to the shaping of a text’s meaning by another text. It is when a text implicitly or explicitly refers to another text, by using distinctive, common or recognizable elements of the referenced text. It when a text is read in the light of another text, all the assumptions and effects of the other text give a new meaning and influence the way of interpreting the original text. “Any text is the absorption and transformation of another.” This was a introduce notion by Julia Kristeva. It does not require citing or referencing punctuation (such as quotation marks) and is often mistaken for plagiarism (Ivanic, 1998). Inter is a prefix which means “between,” “among,” “in the midst of,” “mutually,” “reciprocally,” “together,” “during.” Textuality refers to all the attributes that distinguish the communicative content under analysis as an object of study. Implicit reference refers to when the composer alludes to another text through ideas, symbols, genre or style. Explicit Reference refers to when the composer directly mentions quotes or references another txt in their work. Inferred reference refers to the texts drawn on by the actual responder and will likely include texts that had not even existed when the text was composed.
• 13. 7 Types of Intertextuality 1. Obligatory It is when the writer deliberately invokes a comparison or association between two or more texts. It is without the pre-understanding or success to ‘grasp the link’, the readers’ understanding of the text is regarded as inadequate. It also relies on the reading or understanding of prior hypotext, before full comprehension of the hypertext can be achieved. Example: To understand the specific context and characterization within Tom Stoppard’s ‘Rosencrantz and Guildenstern are Dead’, one must first be familiar with Shakespeare’s ‘Hamlet’ (Mitchell, n.d.) 2. Optional It has a less vital impact on the significance of the hypertext. It is a possible, nut not essential, intertextual relationship that if recognized, the connection will slightly shift the understanding of the text. It also means is possible to find a connection to multiple texts of a single phrase, or no connection at all. In here the intent of the writer when using optional intertextuality, is to pay homage to the original writers, or to reward those who have read the hypotext. Example: J.K. Rowling’s Harry Potter series shares many similarities J. R. R. Tolkien’s Lord of the Rings trilogy. Wherein they both apply the use of an aging wizard mentor. 3. Accidental It when the readers often connect a text with another text, cultural practice or a personal experience, without there being any tangible anchor point within the original text. It is when the writer has no intention of making an intertextual reference and it is completely upon the readers’ own prior knowledge that these connections are made (Wöhrle, 2012). Example: When reading Herman Melville’s ‘Moby Dick’, a reader may use their prior experiences to make a connection between the size of the whale and the size of the ship. Another reader could draw deep connections to the Biblical allegory Jonah and the Whale, simply from the mention of a man and a whale.
• 14. 8 Intertextual Figures 1. Allusion It is a subtle or indirect reference to another text, historical period or religious belief. Example: T. S. Eliot mentions a celestial rose in his poem Hollow Men. This rose comes from Dante’s Paraiso. 2. Parody It is an imitation of another text for satirical purpose; usually mock. Very similar in form to the pastiche, it re-appropriates the work of others, but for the purpose of poking fun rather than praising. Example: Jimmy Fallon’s and Stephen Colbert’s “Friday” musical skit, a spoof on Rebecca Black’s viral YouTube music video: Stephen 3. Quotation It refers to the direct reference to another text within acknowledgement of its composer. 4. Appropriation It refers to the reworking or re-imagination of a well-known text to change or extend its meaning. Example: Duchamp took an image of Da Vinci’s painting and drew a mustache on it. 5. Plagiarism It is when you do not include this information in your paper. It also the act of using someone else’s ideas, words, or thoughts as your own with giving credit to the other person. Example: A recent famous example of plagiarism that cost a journalist his job is Jayson Blair of The New York Times in 2003. 6. Calque Basically, refers to when a word is borrowed from a foreign language. It can be the word-for-word translation of a phrase borrowed from another language.
• 15. 9 Example: Spanish to English (perros callentes-hotdog) (pasar malam-market night) 8. Pastiche It is related to the Italian word for 'paste,' this is a collage of words, phrases, or entire passages from one or more other authors that creates a new literary work. It usually incorporates elements of plot, theme, style, and even character development. Tips in using Intertextuality 1. Venture outside the genre Lines of dialogues can be used as titles or inspiration of your work, storylines can be placed in a different time or setting to create a new plot, even text from essays or other parodies can be used within your own writing to make it intertextual. Example: The Divine comedy by Dante Alighieri and Paradise Lost by John Milton. 2. Embrace it Every txt has been influences by other nationalities countless ones that come before. This this it means that, with that in mind, it’s is fine to accept that everything has already been written” and make something of your own. It can be deliberate or latent but is completely unavoidable. 3. Don’t plagiarize You don’t need quotation marks but using someone’s work as a basis for your own does not mean copying their writing or taking credit for their original writing. Remember intertextuality is about referencing, allusions, satire, and borrowing not taking whole texts and changing the character names.
• 16. 10 YOU COMPLETE ME, ALLUSION… Directions: Write four sentences in making allusions to the characters or events from the given category. BOOKS HISTORY TV MOVIES
• 17. 11 A WALK TO REMEMBER Directions: Complete the sentences in Column A by choosing the most appropriate word in Column B. Column A Column B 1.____________________reference is a subtle or indirect reference to another text, historical period or religious belief. 2. Explicit reference refers to the _______________reference to another text within acknowledgement of its composer. 3. Allusion is a subtle or indirect reference to another text, ___________________period or religious belief. 4.Textuality refers to all the _____________________that distinguish the communicative content under analysis as an object of study. 5. Parody is an ______________________of another text for satirical purpose; usually mock. A. Implicit B. Textuality C. Historical D. Imitation E. Attributes F. Direct
• 18. 12 RECONNECT WITH INTERTEXTUALITY Directions: Create your own explanation on the intertextuality that can be found in the given stories below. Write your answer on the space provided. 1 2 Harry Potter and Lord of the Rings Love story of Taylor Swift and Romeo and Juliet by William Shakespeare
• 19. 13 INTERTEXT DRAMA POSTER Directions: Create a poster showing your chosen and self-made intertextuality poster, then explain the concepts present in your work. Follow the given rubrics below to assess the creative presentation of your intertext drama poster using social media skills. SCORE DESCRIPTION 4 EXCELLENT- The intertext poster is creative, meaningful, and appealing to the readers. It also contains intertext that connect the text to the other texts. 3 GOOD- The intertext poster is creative, meaningful, and slightly appealing to the readers. It also contains intertext that connect the text to the other texts. 2 SATISFACTORY - The intertext poster meaningful and appealing to the readers. It does not suit to the intertext that connect the text to the other texts. 1 NEEDS IMPROVEMENT- The intertext poster meaningful and appealing to the readers. It does not suit to the intertext that connect the text to the other texts. Personal Picture of Intertext Your Picture of Intertext Description of your work…
• 20. 14 WhatIKnow 1.A 2.C 3.B 4.D 5.D What’sIn Student’sanswerswill varyandhavedifferent answers What’sNew Student’sanswerswill varyandhavedifferent answers What’sMore Student’sanswerswill varyandhavedifferent answers WhatIHave Learned 1.Implicit 2.Direct 3.Historical 4.Attributes 5.Imitation Assessment Student’sanswerswill varyandhavedifferent answers
• 21. 15 References No Author (n.d.) Literary Devices.Retreived October 20,2020 form http://www.literary devices.com/intertextuality/ Research (n.d) Literary Techniques. Retrieved October 20, 2020 from https://www.matrix.edu.au/literary-techniques-intertextuality/ No Author (n.d.) Intertextuality. Retrieved October 20,2020 from https://literaryterms.net/intertextuality- No Author (n.d.) Retrieved October 20, 2020 from quiz/?answer_to_question_4=4&quiz_submitted=Enter No Author (n.d.) How to apply Literary Inspiration to your writing. Retrieved October 20, 2020 from https://www.masterclass.com/articles/how-to-apply- literary-inspiration-to--writing#7-examples-of-intertextuality No Author (n.d.) Intertextuality. Retrieved October 20,20202 from https://www.basicknowledge101.com/pdf/literacy/Intertextuality.pdf No Author (n.d.) Plagiarism. Retrieved October 20,2020 from https://literaryterms.net/plagiarism/
• 22. For inquiries or feedback, please write or call: Department of Education – Schools Division Office Navotas Learning Resource Management Section Bagumbayan Elementary School Compound M, Naval St., Sipac Almacen, Navotas City Telefax: 02-8332-77-64 Email Address: [email protected]

• Literary Terms
• When & How to Use Intertextuality
• Definition & Examples

How to Use Intertextuality

How you employ another text in your work depends on what you want to do with it. Do you want to pay homage to a great author like Homer or Shakespeare? Then try re-staging their stories in a new setting. If, on the other hand, you want to spoof those authors, then take whatever is silly or humorous about them and exaggerate it in a parody.

Remember that intertextuality is not limited to texts of the same type . This is important since many of the most sophisticated uses of deliberate intertextuality are those that cut across different mediums and styles . For example, have you ever tried to paint a piece of music? Or write a story based on a philosophical idea? Getting inspiration in this way is a great way to include intertextuality in your writing or art.

When to Use Intertextuality

Obviously, your writing and art will be intertextual whether you want them to be or not. Latent intertextuality is inescapable! But when should you employ deliberate intertextuality?

Deliberate intertextuality has a place both in creative writing and formal essays . In creative writing, it’s a great way to get inspiration for stories. You can draw on other authors’ stories and characters , or you can use other art forms to get inspiration. Either way, when you make deliberate references to these other works you are employing intertextuality.

In formal essays, deliberate intertextuality is a key part of the research process. When you cite a source, you are taking a little chunk of someone else’s text and building it into your own argument. Obviously, you want this intertextuality to be deliberate – if it’s latent, then that means you’re not citing your sources, which is very poor form in an essay!

List of Terms

• Alliteration
• Amplification
• Anachronism
• Anthropomorphism
• Antonomasia
• APA Citation
• Aposiopesis
• Autobiography
• Bildungsroman
• Characterization
• Circumlocution
• Cliffhanger
• Comic Relief
• Connotation
• Deus ex machina
• Deuteragonist
• Doppelganger
• Double Entendre
• Dramatic irony
• Equivocation
• Extended Metaphor
• Figures of Speech
• Flash-forward
• Foreshadowing
• Intertextuality
• Juxtaposition
• Literary Device
• Malapropism
• Onomatopoeia
• Parallelism
• Pathetic Fallacy
• Personification
• Point of View
• Polysyndeton
• Protagonist
• Red Herring
• Rhetorical Device
• Rhetorical Question
• Science Fiction
• Self-Fulfilling Prophecy
• Synesthesia
• Turning Point
• Understatement
• Urban Legend
• Verisimilitude
• Essay Guide
• Cite This Website

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Clint Johnson

• Ways Texts “Connect” or Reference Each Other
• How to Reference Completely and Ethically

“Intertextuality” is the term for how the meaning of one text changes when we relate it to another text. It is one way to understand how writing is contingent upon other factors: in this case, how another text influences the way we understand, or struggle to understand, a given text.

Scholars debate the extent and significance of intertextuality in how we understand language. Some literary theorists argue that any text is just a combination of other texts. Julia Kristeva, for example, writes, “Any text is the absorption and transformation of another.”

How you typically experience intertextuality in your reading and writing is likely to be far simpler than such theories suggest. After all, texts combine with other texts all the time to create meaning, and they do so in specific ways. Understanding these ways helps us better understand what we read and better achieve our goals when we write.

WAYS TEXTS “CONNECT” OR REFERENCE EACH OTHER

What it is:  When one text uses ideas and words of another text.

How to do it:  A quotation is literally copied language from one text that is used in another. The copied words are put within quotation marks to show the language originally comes from another source. The source is also cited.

Why do it:  Quotation is common in many genres because it allows us to adopt others’ language for a variety of purposes. We quote others for their eloquent use of language, or to distance ourselves from statements we need to communicate but do not want to own, or to acknowledge the existence of other perspectives and voices. As a general rule, we only quote when both the words and ideas of a source are valuable to our writing.

Paraphrasing

What it is:  When one text includes ideas from another text put in new words.

How to do it:  When paraphrasing, a writer uses their own language to communicate an idea found in another text. Paraphrasing does not require quotation marks because the words are not borrowed from another source. Paraphrasing references specific ideas from a text rather than all ideas in the text. The original source is cited.

Why do it:  We paraphrase others to give credit or assign responsibility for ideas and to use others’ identities in our writing. Paraphrasing can also allow us to easily integrate important ideas from other sources into our writing without changing our style. This creates a consistent feel for the reader. As a general rule, we paraphrase whenever we wish to use the ideas of a source but don’t feel that the source’s words add additional value. We might also paraphrase if the source’s words somehow detract from our work, such as if their language is too technical or biased for our purposes.

Summarizing

What it is:  When one text uses the main ideas of another text in the order they are originally presented. The source is cited.

How to do it:  A summary presents another text’s major ideas in their original order but without minor details. It essentially condenses a text, shrinking it down by communicating only the most important information. To preserve confidence that the writer summarizing the text hasn’t changed the meaning, summaries are typically written in an objective style. Summaries can be various lengths, from as short as a sentence to as long as needed without giving unnecessary detail.

Why do it:  We summarize to give our reader a sense of another text in its entirety, at least in terms of main ideas, in a short time and space. As a general rule, we summarize whenever we wish to demonstrate that we comprehend a text’s overall meaning or when we ask a reader to interact with the text extensively in our writing.

What is it:  An indirect reference to another text.

How to do it:  The writer does not quote, paraphrase, or in other ways explicitly communicate how the text alludes to, or indirectly connects to, what they are writing. Instead, they trust the reader to be able to identify the connection using their own knowledge.

Why do it:  We allude to a text when we are confident our audience is familiar with the text mentioned. As a general rule, we allude when we want our reader to relate their own knowledge to what we are writing. If our readers are not familiar with the text we allude to, we will likely confuse them.

HOW TO REFERENCE COMPLETELY AND ETHICALLY

Attribution.

What it is:  Specifying who originated a statement, idea, or text, either by authoring or publishing it. Occasionally, we attribute by citing a text’s title.

How to do it:  Writers attribute by including the name of the person or organization that authored the text they are using in their piece. The name of the author of the original text is connected to the language or ideas the writer references. This may take the form of a parenthetical citation, a signal phrase (e.g., according to ), or a speech tag ( John says ). Attribution is routinely combined with quotes, paraphrases, summaries, and more (but not allusion).

Why do it:  We attribute when we want readers to know where a statement or idea comes from or who it belongs to. Attribution allows us to give people credit for their work, to use others’ credibility in our own writing to increase our own authority, and to separate what we say and believe from what others say and believe. As a general rule, we always attribute the first time we reference a text and often again for texts we reference multiple times.

[Find more attributions in the rest of the example sections above.]

Avoid Plagiarism

What plagiarism is:  Using someone else’s words and/or ideas and, intentionally or unintentionally, passing them off as one’s own.

How NOT to do it:  There are a number of ways to plagiarize, including quoting or paraphrasing without giving credit to the original author, failing to use quotation marks for language taken from other texts, summarizing without attributing, or using someone else’s reasoning or organizational structure as your own. When using exact language from a source, always put that language in quotation marks. Similarly, when using language or ideas from a source, use attribution to give credit to the author of the text. At Salt Lake Community College we stress that writers should never plagiarize intentionally and must be willing to correct unintentional plagiarism if it occurs by revising their writing.

Why NOT do it:  In the United States and much of the rest of the world, especially the west, words and ideas are considered intellectual property, similar in many regards to physical property. Because language and ideas can be trademarked, much like inventions, using them without obeying fair-use rules is considered theft. Plagiarism is a dishonest act and is considered a form of cheating in the academic and professional worlds. While plagiarism is a serious academic offense for which a student may fail an assignment or class, unintentional plagiarism will usually be met with correction and instruction on how to ethically and effectively reference other texts. Intentional plagiarism is cheating and will not be tolerated.

Works Cited

Dalton, Kathleen. “Theodore Roosevelt: The Making of a Progressive Reformer.”  History Now,  The Gilder Lehrman Institute of American History, www.gilderlehrman.org/history-by-era/politics-reform/essays/theodore-roosevelt-making-progressive-reformer

Golodryga, Brianna. “‘No More Backbone Than a Chocolate Eclair’: The Best Political Insults of All Time.” The Huffington Post , 2 Nov. 2016, www.huffingtonpost.com/bianna-‘golodryga/no-more-backbone-than-a-c_b_12774594.html

Kristeva, Julia. The Kristeva Reader . Edited by Toril Moi. Columbia University Press, 1986.

“Theodore Roosevelt Quotes.” Brainyquote, n.d., www.brainyquote.com/quotes/quotes/t/theodorero122699.html

Open English @ SLCC Copyright © 2016 by Clint Johnson is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License , except where otherwise noted.

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