This book provides a comprehensive view of intercultural specifics resulting from the translation and reception process of precedent phenomena (precedent names, texts, statements, situations) in different linguistic and socio-cultural spaces – Russian, Slovak and German. The author analyses language and translation itself as a phenomenon of culture in form of interdisciplinary research and thus links translation studies with philosophy, literary science, culture, and intercultural psychology. His comparative research provides a detailed analysis of precedent phenomena in the work Moscow to the End of the Line by V. Erofeev (Russian-Slovak-German comparative aspect). His conclusions and commentaries enrich the sphere of translation and reception of intercultural units.
3. Translation and reception of precedent phenomena in three linguistic communities and cultural contexts
3.1 Venedikt Erofeev and intertextuality in the prose poem Moscow to the End of the Line
The theory of precedentness and precedent phenomena is closely related to the theory of intertextuality. Since precedentness was based on the theory of intertextuality, it helps to develop it and refine it terminologically. Precedent phenomena ultimately “represent” the phenomenon of intertextuality (cf. Dulebová, 2015, p. 14).
The term intertextuality (intertextualité) was coined by the French semiotician J. Kristeva (see Word, dialogue and novel, 1999), who followed the work of the Russian theorist M. M. Bakhtin on dialogism and the problems in the text (see Discourse in the Novel, 1980). Kristeva developed the theory of intertextuality, which she understood as one of the basic principles of creating new texts. The author is of the opinion that each text is a permutation of previous texts, as it contains echoes of many other texts. As far as intertextuality in literary communication is concerned, N. Muránska (cf. 2010, p. 17) notes that “the concept of intertextuality is one of the key ideologemes of postmodernism.” The authors no longer create new texts; they work with old texts, as proved by the analysis of many works and authors. In terms of plot and characters in Bulgakov’s novel The Master and Margarita, almost all of them are anchored artistically in old texts (ibid.).
The essence of intertextuality resides in the creation of secondary communication. Intertextuality arises when a work of art (or...
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