The twelfth volume
of Cultural Intertexts
includes contributions by fifteen scholars from eleven countries around the world. The points of view adopted, developed and justified, though multiple, converge towards the idea that cultural texts are repositories of data pertaining to the spatial and temporal contexts they are generated by, revealing the mechanisms of formation, the strategies of dissemination and the practices of reception. Legend, folk tale, literary writing, film, hagiography, political discourse and photography are all brought centre front in significant case studies revolving around the notions of intertextuality and interculturality.
Aithihyamala (Garland of Legends) reflects, in Sabina Zacharias’ opinion, the politics of rewriting history and the manufacturing of truths servient to local power structures. One Thousand and One Nights is read by Sima Aghazadeh as impacting the transnational crossroads and undergoing cultural transformation.
The literary ground covered includes twentieth-century novels and short stories, as well as contemporary poetic and prose texts: Robert Lance Snyder looks into the cultural relativism of Patricia Highsmith’s The Tremor of Forgery (1969); Lidia Necula analyses geographical and mental displacement in Margaret Atwood’s Alias Grace (1996); Francesca Pierini selects three short stories from A. S. Byatt’s collection Elementals: Stories of Fire and Ice (1998) to illustrate discursive intertextuality; Mandy Beck focuses on the coexistence of the insular and the cosmopolitan in Brexit poetry signed Armitage, O’Brien, Clarke, Duffy and Commane; Ana-Maria Iftimie interrogates (re)fictionalization in Jude Morgan’s The Secret Life of William Shakespeare (2012).
Film is addressed from the standpoint of adaptation, transformation and disfigurement – with reference to the Indian cinema landscape (by Sony Jalarajan Raj and Adith K Suresh) –, and individual productions are re-read (by Yidan Hu and Dina Pedro) as subverting happy endings and Victorian ideals of family – The Piano (1993) and Barbe Bleue (2009), and The Irregulars (2021), respectively.
Hagiographic works translated from Greek by Euthymius the Athonite are considered by Irakli Orzhonia in view of highlighting the function of their intertext. The political discourse of the interwar Caucasian Union is tackled by George Gotsiridze to underline regional competing logic and geopolitical threat. War photography, in the context of the conflict in Ukraine, is approached by Eva Jonisová, who focuses on the trauma of warfare and the heavy price of wartime photojournalism. Lastly, the classroom as intercultural space is placed under the lens by Katherine Ruprecht, a Fulbright lecturer with Eastern European teaching experience.
The editing team appreciates the valuable support of the scientific board in peer-reviewing the contributions received and making the publication of the present volume possible.