By Michaela Bauks
The intertextuality study of vintage texts and their reception in Medieval and smooth occasions is the topic of this quantity: (1) what's a textual content and what's an intertext? This issues a few of the various types of textual content and the way they current themselves in structure, iconography, lexicography, the research of lists, and so on. (2) types of intertextuality – at the courting among writtenness and oralness, how oral texts are objectified in the course of textualisation and develop into fastened acts of speech (K. Ehlich), how particularly vintage texts have been formed through the continuous interconnectedness of oral and written traditions. (3) what's understood in historic Oriental and old literature by way of “tradition” and “transmission”? To this finish, the study contains languages, ancient fact and vintage proposal buildings, making transparent that the transferral of culture happens not just inside of an in depth cultural circle, yet within the trade with neighbouring cultures over huge distances and geographic limitations. (4) at the courting among intertextuality and canon. a couple of contributions examine this element of ongoing historic debate because it frequently discovered for culturally definitive and canonised texts – an important a part of the their rejuvination strategy.
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Additional resources for Between Text and Text: The Hermeneutics of Intertextuality in Ancient Cultures and Their Afterlife in Medieval and Modern Times
73 Assmann, Religion, 117. He explicates this by the example of The Dispute Between a Man and His Ba and Akhenaten’s Great Hymn to the Sun, both documented in a single contemporary document that never entered into the stream of tradition, but is still a highlight of Egyptian Literature. See Assmann, Religion, 131–34. 74 Cf. Carr, Writing, 87, 186 (Greece); Assmann, Religion, 119–20, both with reference to Michael Fishbane, “Varia Deuteronomica,” ZAW 84 (1972): 349–52. 75 In the colophon of the Erra Epic (V,41–43) the scribe is praised as following: 42 The composer of its text was Kabti-ilani Marduk, of the family Dabibi.
Jean-Pierre Sonnet, The Book within the Book: Writing in Deuteronomy (BibInt 14; Leiden: Brill, 1997), esp. 262–67; cf. Carr, Writing, 138–42; and van der Toorn, Scribal Culture, 109–41. 46 See the same phenomenon in Egyptian literature (Carr, Writing, 78–79) and in Hebrew literature (see n. 48). , 108–22, esp. 108–9. 48 Cf. Carr, Writing, 171–73; cf. van der Toorn, Scribal Culture, 263–66. , 236–44). – Concerning the dating see Stefan Schorch, “Communio lectorum: Die Rolle des Lesens für die Textualisierung der israelitischen Religion,” in Die Textualisierung der Religion (ed.
Texts, Textual Bilingualism, and Mesopotamian Hermeneutics 51 “If the form of the forehead of a man: (76) (if) on the forehead of a man the DINGIR-sign is drawn, that man is evil. (77) If the LAK-sign (is drawn), the hand of the king will catch that man. (…) (80) If the MU//BI-sign (is drawn), the sons will ruin the house/domain of their father. (81) If the BU-sign (is drawn), his (the man’s) name isn’t existent. (…) ((91)) If the KA-sign (is drawn), disagreement will be in the house of (that) man.