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Textuality

Textuality is the multifaceted concept in linguistics and literary theory that denotes the properties enabling a sequence of language to function as a coherent, communicative unit rather than a mere collection of words or sentences. In text linguistics, it is primarily understood as a dynamic set of seven standards—cohesion, coherence, intentionality, acceptability, informativity, situationality, and intertextuality—that distinguish effective texts from non-communicative language configurations, ensuring they are processed as meaningful interactions shaped by producer intent, receiver response, and contextual relevance.^[1] In literary and poststructuralist theory, textuality extends to the indecidable, intertextual nature of texts, where meaning emerges through deferral, difference, and incorporation of other discourses, challenging fixed interpretations and boundaries as articulated in deconstructive practices.^[2] The foundational framework for textuality in linguistics originates from Robert-Alain de Beaugrande and Wolfgang U. Dressler's seminal 1981 work, Introduction to Text Linguistics, which posits textuality not as a static attribute but as a process of utilization in communication.^[1] Cohesion provides surface-level connectivity through grammatical and lexical devices like reference, substitution, ellipsis, conjunction, and lexical recurrence, linking elements explicitly within the text.^[1] Coherence ensures underlying conceptual consistency and relevance, where ideas and relations form a unified "textual world" via logical and semantic ties such as cause-effect or compatibility.^[1] Intentionality reflects the producer's goal-oriented attitude, directing the text toward informing, persuading, or other communicative purposes.^[1] Acceptability involves the receiver's disposition to deem the text coherent, relevant, and worthwhile, fostering mutual engagement.^[1] Informativity balances expected and novel information, delivering appropriate surprises or confirmations relative to the audience's knowledge to maintain interest without overwhelming.^[1] Situationality anchors the text to its real-world context, including participants, setting, and channel, ensuring appropriateness and efficacy.^[1] Intertextuality relies on the text's relation to prior discourses, invoking allusions, genres, or cultural knowledge to enhance comprehension and production.^[1] These standards interact dynamically; a text remains viable even if one is partially disrupted, as long as overall communication persists, underscoring textuality's role in cybernetic-like continuity.^[1] In literary theory, particularly within deconstruction, textuality acquires a broader, more fluid dimension influenced by Jacques Derrida's ideas, emphasizing texts as sites of undecidability and endless deferral (différance).^[2] Here, textuality manifests as the text's inherent escape from definitive meaning, operating through binary oppositions (e.g., presence/absence) that it both invokes and subverts, incorporating intertexts in ways that produce knowledge yet resist closure.^[2] This view positions all phenomena as "texts" to be read, extending beyond linguistics to critique stable interpretations in philosophy, culture, and institutions.^[2] Across both domains, textuality highlights the relational, contextual essence of meaning-making, influencing fields from discourse analysis to postmodern criticism.^[1]^[2]

Definition and Core Concepts

Definition of Textuality

Textuality derives from the Latin textus, meaning "woven" or "tissue," derived from the verb texere ("to weave"), which metaphorically highlights the interconnected fabric of linguistic elements that constitute a text.^[3] In textual linguistics, textuality is the overarching quality that transforms a sequence of sentences or linguistic units into a cohesive, communicative entity, enabling it to function as a unified "text" rather than disparate parts.^[4] This quality is achieved through the integration of seven standards—cohesion, coherence, intentionality, acceptability, informativity, situationality, and intertextuality—whereby the text meets expectations for unity and relevance in communication.^[1] Central to textuality is its emergence as a global property from the interlacing of sentences, primarily via cohesion, which establishes explicit links through grammatical devices (such as reference, ellipsis, substitution, and conjunction) and lexical ties (such as reiteration, synonymy, and collocation).^[5] These mechanisms ensure that surface-level elements across sentences cohere, creating a network of relations that supports the text's overall structure and flow, as opposed to mere syntactic independence of individual clauses.^[4] For instance, pronouns referring back to antecedents or repeated key terms weave sentences into a continuous discourse, fostering the interpretive potential inherent in textuality.^[5] Textuality thus differs fundamentally from the concept of a "text" as simply a body of written or spoken words, shifting emphasis to the dynamic processes of functionality, meaning construction, and relational attributes that render the content interpretable and purposeful.^[5] While a string of words may exist as raw material, textuality activates its potential as a communicative tool by embedding internal structures that guide reader comprehension and external relations, such as intertextuality, which connects the text to broader discursive contexts.^[1] This focus on quality over mere existence underscores textuality's role in distinguishing effective linguistic artifacts in theory and analysis.^[4]

The Concept of "Text"

In textual theory and semiotics, the concept of "text" extends beyond mere written language to encompass a coherent, interpretable unit of signs that can be verbal, visual, or multimodal, distinguishing it from isolated sentences, words, or unstructured elements.^[6]^[7] This definition emphasizes the text's role as a structured assemblage where signs interact to produce meaning, rather than as fragmented or arbitrary components.^[7] Central attributes of a text include unity, through its internal coherence; intentionality, reflecting purposeful sign deployment; and context-dependence, where interpretation relies on surrounding cultural and situational factors. Roland Barthes articulates the text as a "multidimensional space" that functions as a network of signifiers, plural and traversable, without fixed closure or authorial dominance, thereby highlighting its dynamic, stereographic plurality.^[8] These qualities enable textuality, the overarching property that renders such units meaningful and interpretable. Examples of texts illustrate this breadth: a literary novel forms a verbal text through narrative cohesion; a political speech constitutes an auditory-verbal text via rhetorical structure; and an advertisement qualifies as a multimodal text by integrating images, layout, and writing to convey persuasive intent.^[9] In contrast, random noise or disjointed scribbles fail to qualify as texts, lacking the requisite coherence and interpretability that binds signs into a unified whole.^[7] The notion of text has evolved from structuralist perspectives, which viewed it as a fixed, objective structure governed by underlying codes and conventions independent of individual readers or authors, to post-structuralist approaches that portray it as an open, reader-dependent entity where meaning emerges through active interpretation and deconstruction of instabilities.^[10]^[11]^[12] This shift underscores the text's fluidity, prioritizing its relational and contextual dimensions over static form.^[12]

Historical Development

Origins in Structuralism and Formalism

The concept of textuality emerged in the early 20th century through the Russian Formalist movement, which emphasized the autonomy of literary works and their internal devices as the primary objects of analysis. Active primarily in the 1910s and 1920s, Russian Formalists such as Viktor Shklovsky argued that literature's essence lay in its "defamiliarization" (ostranenie), a technique that disrupts habitual perception to renew the reader's experience of the world.^[13] In his seminal 1917 essay "Art as Technique," Shklovsky posited that artistic language makes objects "difficult" and "long," foregrounding the material texture of the text itself rather than external realities or authorial biography, thereby establishing textuality as the perceptible fabric of literary form.^[14] This approach treated the text as a self-sufficient system of devices, where meaning arises from the interplay of linguistic and narrative elements, independent of historical or social contexts. Building on Formalist principles, the New Criticism movement in the Anglo-American tradition during the 1930s to 1950s further solidified textuality by advocating "close reading" of the literary work's surface features. Critics like Cleanth Brooks and John Crowe Ransom viewed the poem or novel as an organic, autonomous artifact, analyzable through its internal tensions, ironies, paradoxes, and ambiguities, without recourse to the author's intent or biographical details.^[15] In Brooks' 1947 work The Well Wrought Urn, he exemplified this by dissecting poetic structure to reveal how form and content are indivisible, reinforcing textuality as the inherent coherence of the work's verbal intricacies.^[16] This method prioritized the text's self-contained unity, treating it as a verbal icon whose meaning is immanent rather than referential. Early structuralism, foundational to later developments in textuality, was articulated by Ferdinand de Saussure in his 1916 Course in General Linguistics, which conceptualized language as a system of signs governed by internal relations. Saussure distinguished between langue—the abstract, collective structure of language—and parole—individual utterances—positing that texts function as units within this differential system, where signs derive meaning from their oppositions rather than from external referents. This synchronic approach shifted analysis toward the text's structural properties, viewing it as a closed network of signifiers whose textuality resides in relational patterns, not diachronic evolution or speaker's psychology.^[17] Collectively, these movements marked a pivotal turn in literary theory, defining textuality as the intrinsic, self-regulating qualities of the work, detachable from authorial or contextual externalities.^[18]

Evolution in Post-Structuralism

Post-structuralism, emerging in the late 1960s, marked a profound shift in the understanding of textuality by challenging the structuralist emphasis on stable, self-contained systems of meaning, instead portraying texts as inherently unstable, relational, and perpetually deferred in their signification. This evolution critiqued the earlier formalist and structuralist views of texts as closed entities governed by internal rules, introducing instead a dynamic interplay of differences and contexts that undermined fixed interpretations.^[18] Jacques Derrida's deconstruction, developed from 1967 onward in works like Of Grammatology, revealed the instability of texts by exposing binary oppositions (such as speech/writing) as hierarchical constructs that defer meaning through différance—a neologism denoting both difference and deferral, where signification is never fully present but endlessly traces traces of absence. This approach reconceived textuality not as a unified whole but as a site of undecidability, where meanings slip and contradict, resisting any final closure. Derrida argued that no text can be fully mastered, as its structure inherently includes contradictions that deconstruction uncovers, thus fluidizing the boundaries of textual identity.^[19]^[20] Roland Barthes, in his 1967 essay "The Death of the Author," further advanced this fluid conception by declaring the author's intentionality obsolete, positioning the text as a "tissue of quotations" drawn from countless cultural sources, where meaning emerges through the reader's active engagement rather than authorial dictate. Barthes distinguished between "readerly" texts, which invite passive consumption and reinforce stability, and "writerly" texts, which demand participatory interpretation, thereby emphasizing textuality as an open, multi-dimensional network of relations that proliferates meanings beyond origin. This shift empowered the reader as co-producer, transforming textuality from a product of singular creation to a democratic, interpretive event.^[21] Michel Foucault, in his 1969 lecture "What is an Author?" and The Archaeology of Knowledge, linked textuality to broader discourses shaped by power relations, viewing texts not as isolated artifacts but as elements within historical archives that regulate knowledge and truth. Foucault posited that discourses function as systems of exclusion and control, where textuality manifests the interplay of power and subjectivity, with history itself reconstructed as a textual ensemble rather than a linear narrative. This perspective integrated textuality into social and institutional dynamics, highlighting how meanings are produced and contested through discursive formations.^[22] Julia Kristeva, building on Mikhail Bakhtin in her 1960s essays such as "Word, Dialogue, and Novel" (1966), introduced intertextuality to describe texts as dialogic spaces where prior texts are absorbed, transformed, and revoiced, creating relational networks rather than autonomous entities. Kristeva's framework emphasized the unconscious and social dimensions of this process, where textuality arises from the horizontal axes of dialogue and vertical axes of symbolic/nonsymbolic layers, fostering an endless absorption of cultural voices.^[23] Overall, these post-structuralist contributions evolved textuality from the closed, rule-bound systems of structuralism to open, networked configurations of meaning, where instability, reader agency, power-infused discourses, and dialogic interconnections render interpretation inherently indeterminate and expansive.^[24]

Key Theoretical Aspects

Coherence and Cohesion

Cohesion refers to the semantic relations that link elements within a text, creating surface-level connections between sentences and clauses. According to Halliday and Hasan (1976), cohesion operates through two main categories: grammatical and lexical devices. Grammatical cohesion includes reference (such as pronouns or demonstratives that point to earlier or later elements, like anaphora), conjunction (logical connectors like "however" or "therefore"), substitution, and ellipsis, which replace or omit elements to avoid redundancy. Lexical cohesion involves repetition of words, synonymy, antonymy, or collocations that reinforce thematic continuity. These mechanisms ensure that a text hangs together grammatically and lexically, forming a network of ties that contribute to its overall structure.^[25] In contrast, coherence addresses the deeper semantic and pragmatic unity that allows a text to be interpreted as a meaningful whole, transcending explicit links to rely on inferred conceptual relations and shared knowledge. De Beaugrande and Dressler (1981) describe coherence as the configuration of surface text with underlying conceptual structures, where readers draw on world knowledge and logical consistency to fill gaps and achieve comprehension. Unlike cohesion, which is observable in linguistic forms, coherence emerges from the text's alignment with cognitive expectations, such as cause-effect sequences or thematic progression, making the discourse interpretable beyond isolated sentences.^[26] Together, cohesion and coherence underpin textuality by establishing a text's global quality as a unified communicative act, where local ties support broader interpretability. Halliday and Hasan (1976) emphasize that cohesive devices provide the scaffolding for semantic relations, while de Beaugrande and Dressler (1981) position both as core standards of textuality, ensuring the text functions effectively in context. For instance, in narratives, anaphoric reference like "the hero" linking back to a named character maintains cohesion, whereas cultural schemas—such as a shared understanding of a "restaurant visit" implying ordering, eating, and paying—enable coherent inference without explicit statement. These elements distinguish a mere sequence of sentences from a purposeful text.^[25]^[26]

Intertextuality and Hypertextuality

Intertextuality, a foundational concept in understanding the relational nature of texts, was coined by Julia Kristeva in 1966 to describe how texts function as "a mosaic of quotations," absorbing and transforming elements from prior texts rather than existing in isolation.^[27] Drawing from Mikhail Bakhtin's ideas of dialogism, Kristeva emphasized that every text is an intersection of multiple writings, derived from other texts, and shaped by cultural and social contexts, thereby producing layers of meaning through these interconnections.^[27] This perspective shifts focus from a text's originality to its participation in a broader network of discourses, where meaning emerges dialogically. Building on intertextuality, Gérard Genette expanded the framework of textual relations in his 1982 work Palimpsests: Literature in the Second Degree, introducing the concept of hypertextuality as part of a larger typology of transtextuality.^[28] Hypertextuality specifically refers to the relationship between a later text (the hypertext) and an earlier one it transforms or imitates (the hypotext), encompassing forms like parody, pastiche, and continuation.^[28] Genette's typology further includes paratexts (elements such as titles and prefaces that frame the text), metatexts (critical commentaries on other texts), architexts (genre-based relations), and intertextuality (direct quotations or allusions), all of which highlight how texts transcend their boundaries through relational dynamics.^[28] A prominent example of intertextuality and hypertextuality is James Joyce's Ulysses (1922), which transforms Homer's Odyssey into a modern narrative set in Dublin, with protagonist Leopold Bloom paralleling Odysseus through a day-long odyssey of everyday experiences.^[29] The novel's 18 episodes mirror the Odyssey's structure, such as Bloom's wanderings echoing Odysseus's adventures, while incorporating allusions, parodies, and thematic reinterpretations to blend ancient myth with contemporary life.^[29] Parody, as a key mode of hypertextuality in Genette's scheme, exemplifies this transformative process, where the hypertext playfully critiques or amplifies the hypotext to generate new meanings.^[28] These concepts underscore the implications for textuality, portraying texts not as self-contained units but as dialogic entities whose meanings are inherently contextual and interdependent, reliant on external links to prior works for full interpretation.^[27] By revealing texts as part of an ongoing conversation across time, intertextuality and hypertextuality challenge notions of textual autonomy, emphasizing instead the polyphonic and transformative essence of meaning-making in literature and discourse.^[28]

Applications in Linguistics and Discourse

Textual Linguistics

Textual linguistics emerged in the 1970s as a subfield of linguistics focused on texts as functional units larger than sentences, treating them as communicative events characterized by inherent structure and function.^[30] Pioneering work by Teun A. van Dijk emphasized texts as semantic and pragmatic entities that integrate clauses into meaningful wholes, extending beyond isolated sentence analysis to encompass discourse-level organization. This approach built on earlier structuralist ideas but shifted toward viewing texts as dynamic units of language use in context, influencing subsequent developments in discourse studies. Texts are typologized based on their functional properties, such as narrative texts that sequence events temporally or descriptive texts that enumerate attributes spatially, aiding in the classification and understanding of varied discourse forms.^[31] These principles underscore the autonomy of texts as communicative artifacts, where structure ensures unity and purpose. Analysis methods in textual linguistics involve identifying thematic progression, which tracks how themes (starting points of clauses) develop across sentences to maintain informational flow, as outlined by František Daneš. Additionally, rhetorical structures are examined to reveal hierarchical relations between text spans, such as elaboration or contrast, providing insights into organizational patterns.^[32] These techniques enable systematic dissection of texts to uncover underlying grammatical and semantic mechanisms. In relation to textuality, textual linguistics highlights how linguistic features like connectivity and semantic consistency produce coherent wholes, with coherence serving as a core tool for interpretive unity. This focus reinforces textuality by demonstrating texts' capacity to function as integrated, meaningful entities through formal linguistic properties.^[30]

Discourse Analysis

Discourse analysis examines textuality within the broader framework of language use in social contexts, emphasizing how texts function as elements of discourse that both reflect and construct social realities. Norman Fairclough's foundational work in critical discourse analysis (CDA), introduced in his 1989 book Language and Power, posits texts as ideological sites embedded within discourses, where linguistic choices serve to naturalize power imbalances and hegemonic structures.^[33] In this approach, textuality extends beyond isolated linguistic units to reveal how discourses—networks of texts, practices, and interactions—perpetuate or challenge societal norms.^[34] Fairclough's CDA highlights that texts are not neutral; they embody ideological assumptions that sustain dominance, such as through subtle lexical and grammatical features that frame social issues in ways that favor certain interests.^[35] In practice, textuality within discourse analysis illuminates how texts reproduce power relations, particularly in institutional settings like media and politics. For instance, political media discourse often constructs narratives that legitimize authority by portraying policy decisions as inevitable or beneficial, thereby marginalizing alternative viewpoints and reinforcing elite control.^[33] Fairclough's analysis of media texts from the 1980s, such as coverage of economic reforms under Thatcherism, demonstrates how journalistic language normalizes neoliberal ideologies, turning contested policies into commonsense truths through repetitive framing and omission of dissent.^[36] This reproductive function of textuality underscores discourse's role in maintaining social hierarchies, where everyday language use in news reports or speeches subtly enacts and sustains unequal power dynamics.^[34] Methodologically, CDA integrates multimodal analysis to account for textuality across semiotic modes, combining verbal elements with visuals, sounds, and layouts to uncover layered meanings in communication. Fairclough extends this by incorporating interdiscursivity, the hybridization of diverse discourses, genres, and styles within a single text, which reveals how dominant ideologies colonize other domains, such as when corporate discourse infiltrates public health messaging. These methods treat texts as dynamic artifacts, analyzed through a three-dimensional framework: textual description, discursive practice (production and interpretation), and sociocultural practice (broader power contexts). Intertextuality serves as a related discursive tool, where texts draw on prior discourses to reinforce ideological continuity.^[33] At its core, discourse analysis views texts as integral parts of larger discursive formations that actively shape social reality, rather than merely describing it.^[34] Drawing on Fairclough's synthesis of Foucault's ideas, these formations constitute orders of discourse—configurations of textually realized practices—that govern what can be said and how, influencing everything from identity formation to policy enactment.^[35] Through this lens, textuality becomes a site of potential emancipation, as critical scrutiny can expose and resist the reality-shaping mechanisms of power-laden discourses.

Textuality in Media and Culture

Traditional Media Representations

In traditional media, print forms such as newspapers exemplify textuality through intertextual networks, where individual articles and headlines interconnect to form a cohesive representation of ongoing events and cultural discourse. Headlines often reference prior texts or real-world occurrences, creating layers of meaning that rely on reader familiarity with shared knowledge; for instance, a headline like "Real-life Alice and her curious adventure with a royal admirer" in The Times (December 30, 2020) alludes to Lewis Carroll's Alice's Adventures in Wonderland to frame a contemporary story, thereby embedding the article within a broader textual web. This intertextual structure enhances coherence by evoking past narratives or events, positioning newspapers as dynamic archives where new reports build upon and reinterpret previous coverage.^[37] Film and television narratives demonstrate textuality through multimodal integration of script, visuals, and sound, achieving cohesion via editing techniques that unify disparate elements into a linear storyline. Sergei Eisenstein's montage theory, central to early Soviet cinema, illustrates this by positing that the collision of shots generates synthetic meaning, transforming isolated images into a psychologically unified text; in Battleship Potemkin (1925), sequences like the "Odessa Steps" employ rhythmic and overtonal montage to link visual motifs—such as marching soldiers and fleeing civilians—with auditory cues, fostering narrative progression and emotional resonance. This approach underscores how traditional audiovisual media construct textuality not through isolated components but through their deliberate juxtaposition, ensuring the overall work functions as a coherent, interpretive whole.^[38]^[38] Radio broadcasts embody oral textuality, prioritizing auditory coherence to maintain listener engagement in an ephemeral, linear format without visual aids. The medium's reliance on spoken discourse employs rhythmic patterns, prosodic boundaries, and pauses to segment information and guide comprehension; for example, journalists use consistent accent densities—recurring every 500-600 milliseconds—to create entrainment, allowing audiences to process complex narratives fluidly despite the absence of textual anchors. This auditory structuring ensures that radio texts cohere through vocal intonation and timing, simulating conversational flow while delivering structured content like news reports or dramas.^[39]^[40] A historical precedent for such serialized textuality appears in 19th-century novels published in installments, which built narrative cohesion across episodic releases to sustain reader investment over time. Charles Dickens's works, such as The Pickwick Papers (1836–1837), unfolded in 20 monthly numbers, linking plot developments to real-world seasons—e.g., winter skating scenes in the February 1837 installment—to mirror readers' temporal experiences and foster a sense of ongoing textual continuity. This format not only heightened emotional intimacy with characters but also encouraged communal discourse, as seen in periodicals querying public opinions on the story, thereby extending the novel's textuality beyond the page into social interaction.^[41]

Digital and Hypermedia Textuality

Digital textuality extends traditional notions of text beyond linear, print-based forms by incorporating interactive and nonlinear structures enabled by computing technologies. Hypertext, coined by Ted Nelson in 1963 and elaborated in his seminal 1965 paper "A File Structure for the Complex, the Changing, and the Indeterminate," introduces non-sequential writing where readers navigate interconnected nodes of information through user-selected links, transforming passive consumption into active exploration.^[42]^[43] This concept laid the groundwork for the World Wide Web, where hyperlinks allow users to traverse vast, reader-determined paths across digital documents, exemplifying how textuality becomes dynamic and participatory.^[42] Building on earlier theoretical precursors like hypertextuality in post-structuralism, digital environments further expand textuality through multimodality, as theorized by Günther Kress in the 2000s.^[44] Kress's social semiotic approach posits that contemporary digital communication integrates multiple modes—such as text, images, sound, and gesture—to construct meaning, reflecting the affordances of platforms like mobile devices and web interfaces.^[45] In this framework, digital texts are not monolithic but orchestrated ensembles where visual and auditory elements complement linguistic ones, enabling richer semiotic expression in interactive settings.^[45] Representative examples illustrate this multimodal and hyperlinked textuality in everyday digital practices. Social media posts, such as academic tweets, operate as fragmented, intertextual units by embedding hyperlinks, retweets, quotes, and visuals within concise formats, recontextualizing external sources to foster dialogue and promotion.^[46] Similarly, enhanced e-books like The Fantastic Flying Books of Mr. Morris Lessmore incorporate embedded audio narrations, animations, and interactive videos alongside text, creating immersive, multimedia narratives that engage readers across sensory modes.^[47] However, these expansions introduce challenges to textual coherence and agency. Infinite linking in hypertext systems can lead to disorientation, where users struggle to form a unified understanding amid cognitive overload from excessive navigational choices.^[48] Algorithm-driven textuality on social media platforms exacerbates this by curating content feeds based on engagement metrics, prioritizing sensational or polarizing material that fragments coherent discourse and reinforces selective exposure.^[49]

Implications and Contemporary Relevance

In Literary and Cultural Criticism

In literary and cultural criticism, textuality refers to the ways in which texts are constructed, interpreted, and embedded within broader networks of meaning, particularly through post-structuralist reading practices that deconstruct binary oppositions such as male/female or center/margin in novels.^[50] These practices, influenced by thinkers like Jacques Derrida, emphasize the instability of textual meaning, revealing how novels perpetuate or undermine ideological structures through their linguistic and narrative elements.^[51] For instance, deconstructive analysis of works like Joseph Conrad's Heart of Darkness exposes the binary of civilization/savagery as a fluid construct that critiques colonial discourse rather than reinforcing it. In cultural criticism, texts are viewed as cultural artifacts that embody and propagate ideologies, with advertisements serving as prime examples of ideological textuality that naturalize consumerist and gender norms. Critics analyze these artifacts to uncover how they function as semiotic systems, embedding societal values within visual and verbal rhetoric to shape public perceptions.^[52] Such approaches highlight advertising's role in reinforcing hegemonic ideologies, as seen in mid-20th-century campaigns that portrayed domesticity as an inherent female trait, thereby textualizing patriarchal structures.^[53] A key method in this domain is reader-response theory, developed by Wolfgang Iser in the 1970s, which posits that readers co-create textual meaning by filling in the "gaps" or indeterminacies within the text, thus making textuality a dynamic interplay between the work and its audience. Iser's framework underscores how the implied reader engages with the text's structure to produce aesthetic responses, transforming passive consumption into an active process of meaning-making.^[54] This theory shifts focus from authorial intent to the reader's role in realizing textuality, influencing interpretive practices across literary genres. Feminist rereadings of canonical texts exemplify textuality's interpretive potential by revealing hidden intertextualities that expose patriarchal biases, as in Sandra Gilbert and Susan Gubar's analysis of 19th-century literature where female characters' "madness" intertextually mirrors the suppressed voices of women writers. These rereadings, part of broader efforts to reclaim literary history, demonstrate how canonical works like Charlotte Brontë's Jane Eyre contain intertextual echoes of earlier texts that subvert gender binaries when viewed through a feminist lens.^[55] Such approaches not only uncover layered meanings but also reposition textuality as a site of resistance against dominant narratives.^[56]

Challenges in the Digital Age

The proliferation of short-form content on platforms like Twitter (now X) and TikTok has fragmented traditional notions of textual coherence, where extended narratives once unified meaning through sustained cohesion. Linguistic analyses reveal that while these snippets enable rapid exchange, they often prioritize brevity over logical progression, leading to disjointed discourse chains that challenge readers' ability to infer connections. For instance, in YouTube comment sections, apparent fragmentation—manifested in isolated, mode-spanning responses—belies underlying lexical cohesion through repetition and intertextual references, such as recurring motifs like "Nokia" in discussions of durability, which tie disparate comments into a semblance of wholeness.^[57] However, this surface-level unity masks deeper disruptions to sustained attention and narrative depth, as short-form formats encourage episodic rather than holistic textuality.^[58] Authenticity in textual production faces profound threats from AI-generated content and deepfakes, which erode the boundaries between human-authored and synthetic discourse, particularly since 2020 with the rise of large language models like GPT-3 and beyond. AI texts often lack the intentionality and stylistic idiosyncrasies of human writing, resulting in generic, repetitive outputs that homogenize online narratives and undermine trust in informational sources. Studies show that even experts detect AI-generated academic abstracts only 39% of the time, highlighting how these tools blur authorship and foster misinformation in journalistic and scholarly contexts.^[59] Complementing this, deepfakes—hyperrealistic audio-visual manipulations—extend the crisis to multimodal texts, where fabricated speeches or videos integrate seamlessly with written reports, casting doubt on evidentiary coherence in news and legal documents.^[60] Post-2020 developments, including widespread adoption in content marketing, have amplified ethical dilemmas, such as plagiarism risks and diminished creative diversity, as AI prioritizes efficiency over originality.^[59] Globalization in digital spaces has intensified multilingual and cross-cultural textuality, where online platforms facilitate code-switching but also introduce challenges to cohesive interpretation across linguistic boundaries. Users frequently blend languages in 68% of social media posts, driven by audience diversity and platform constraints like character limits, which enriches identity expression yet complicates unified textual meaning for non-multilingual readers.^[61] This translanguaging—evident in 42% of analyzed Instagram and WhatsApp content—fosters inclusive communities but exacerbates a digital divide, as English dominance marginalizes minority languages and hinders cross-cultural coherence in global forums. Research underscores how such practices, while building transnational affiliations, demand adaptive literacy skills to navigate hybrid texts that resist singular cultural framing.^[61] As of 2025, the integration of AI and virtual reality (VR) environments necessitates evolving theories of textuality to address immersive, algorithmically driven interactions that transcend linear reading. Traditional frameworks falter against AI's pattern-based generation, which lacks human contextual depth, and VR's spatial narratives, which prioritize sensory engagement over analytical cohesion, as seen in projects like immersive Shakespeare adaptations.^[62] Emerging post-humanist models advocate for hybrid interpretive approaches that incorporate algorithmic biases and ethical authorship issues, including 2023-2024 copyright rulings on AI outputs. Future implications include collaborative AI-human pedagogies and accessible VR tools to sustain critical textuality amid these disruptions.^[62]

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[PDF] jacques derrida - "differance - Sites at Gettysburg College
Writing "differing" or "differance" (with an a) would have had the utility of making it possible to translate Hegel on precisely this point with no further.
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[PDF] THE DEATH OF THE AUTHOR ROLAND BARTHES In his story ...
Once the Author is gone, the claim to "decipher" a text becomes quite useless. To give an Author to a text is to impose upon that text a stop clause, to ...
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[PDF] Michel Foucault's 'What is an Author?' - Penn Arts & Sciences
*This essay is the text of a lecture presented to the Société Française de philosophie on. 22 February 1969 (Foucault gave a modified form of the lecture in the ...
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[PDF] Towards a History of Intertextuality in Literary and Culture Studies
An explicit theory of intertextuality arose in the late 1960s during a crisis in the arts and sciences when transitioning from the modern to the postmodern; ...
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Theoretical Foundations of Post-structuralism in Discourse Analysis
Apr 8, 2024 · This article delves into the theoretical foundations of post-structuralism, highlighting key figures like Derrida, Foucault, and Kristeva, whose ...
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Cohesion in English | M.A.K. Halliday, Ruqaiya Hasan
Jan 14, 2014 · This book studies the cohesion that arises from semantic relations between sentences. Reference from one to the other, repetition of word ...
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Introduction to Text Linguistics - 1st Edition - Robert De Beaugrande
In stock Free deliveryIntroduction to Text Linguistics. By Robert De Beaugrande, Wolfgang U. Dressler Copyright 1972 ... Coherence VI Intentionality and acceptability VII Informativity ...
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[PDF] AN INTRODUCTION TO INTERTEXTUALITY AS A LITERARY ...
Although the term 'intertextuality' was coined by Julia Kristeva in 1966, after which time intertextuality, as a term denoting a literary theory, became ...
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https://www.nebraskapress.unl.edu/nebraska/9780803270299/palimpsests/
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(PDF) Intertextuality in James Joyce's Ulysses - ResearchGate
Sep 14, 2022 · ... Joyce parodies Homer's Odyssey. for some reasons respectively: First in Ulysses the events and the structure. resemble those of Homer's .Second, ...
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[PDF] The Pragmatics of Discourse
In this and the following chapter [of Text and Context] we are concerned with the pragmatics of discourse, i.e. with the systematic relations between.
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[PDF] Foundations for Typologies of Texts - Semantic Scholar
On the foundations of poetics · T. A. Dijk. Linguistics, Philosophy. 1972 ; The role of rhetoric in verbal communication · E. Nida. Linguistics. 1990 ; ASPECTS OF ...Missing: 1970s | Show results with:1970s
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[PDF] Rhetorical structure theory: Toward a functional the
In Mann and Thompson (1988), an unabridged version of this paper, the definitional uses of the following terms are discussed: nouns text span, reader, writer, ...
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Language and Power - Norman Fairclough - Google Books
Language and Power was first published in 1989 and quickly established itself as a ground-breaking book. Its popularity continues as an accessible introductory ...
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Language and Power - 3rd Edition - Norman Fairclough - Routledge
In stockLanguage and Power is widely recognised both as a classic and an essential introductory textbook to the field of Critical Discourse Analysis.
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(PDF) Language and Power - ResearchGate
The research work is aimed at linguo-cultural analysis of Russia's portrayal in political media discourse in Great Britain and the USA.
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Norman Fairclough, Language and power. London: Longman. 1989 ...
Norman Fairclough, Language and power. London: Longman. 1989 Pp. x + 248. Published online by Cambridge University Press: 05 January 2009.
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(PDF) INTERTEXTUALITY IN MEDIA TEXTS - ResearchGate
Nov 26, 2023 · Media texts are selected in order to show how intertextuality is formed in different functional-semantic types of speech – narration, ...
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[PDF] EISENSTEIN'S FILM THEORY OF MONTAGE AND ARCHITECTURE
The text shall define Eisenstein's basic principles of montage by examining how they are demonstrated in the structure of his 1925 film Battleship. Potemkin.Missing: cohesion textuality
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https://journals.openedition.org/praxematique/1904
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[PDF] LINGUISTIC PHENOMENA OF RADIO SPEECH - EPRA JOURNALS
The text in radio journalism is a journalistic work specially created for radio broadcasting and having an oral, oratorical form of expression; mainly based on ...
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[PDF] Dickens's Serial Novels and Victorian Literary Fandom
Nov 29, 2012 · Jennifer Hayward credits runaway success of The. Pickwick Papers' and Dickens's ability to adapt continuous narrative to an industrial-.<|control11|><|separator|>
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Ted Nelson - Who invented Hypertext, Web History | LivingInternet
Ted Nelson invented hypertext, the concept behind links on the web, influencing several developers of the Internet, most notably Tim Berners-Lee.
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Ted Nelson (1965): Complex information processing: a file structure ...
Mar 16, 2007 · This paper written in 1965 by Ted Nelson is one of the most famous in the history of the computer revolution. It introduces his concept of 'hypertext' (or ...Missing: seminal | Show results with:seminal
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https://oxfordre.com/literature/display/10.1093/acrefore/9780190201098.001.0001/acrefore-9780190201098-e-982
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Multimodality | A Social Semiotic Approach to Contemporary ...
Dec 4, 2009 · In this book, Gunther Kress presents a contemporary, distinctive and widely applicable approach to communication. He provides the framework ...Missing: digital | Show results with:digital
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Forms and functions of intertextuality in academic tweets composed ...
This paper explores the forms and functions of intertextuality in academic tweets composed by research groups. Academic tweets are dialogic and intertextual ...
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Multimedia eBook - Show What You Know with Media
FAVORITE COMMERCIAL ENHANCED EBOOK EXAMPLES · The Fantastic Flying Books of Mr. Morris Lessmore ($5, iOS) · Our Choice by Al Gore ($5, iOS) · Van Gogh: Painted ...
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Expanding Hypertext: Does It Address Disorientation? Depends on ...
Individuals can experience disorientation in two ways: First, users may experience difficulty achieving a coherent understanding of the content due to cognitive ...
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Social Drivers and Algorithmic Mechanisms on Digital Media - PMC
Algorithmic mechanisms on digital media are powered by social drivers, creating a feedback loop that complicates research to disentangle the role of algorithms.
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Post-Structuralist, Deconstructive Criticism - Writing Commons
Deconstructive criticism may also focus on binaries in a text, such as good/evil, light/dark, male/female, poor/rich, linear/nonlinear, old/young, masculine/ ...
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Textual Strategies: Perspectives in Post-Structuralist Criticism - jstor
The notion of structure, recently discovered in the realm of methodology, has an algebraic origin. It designates a set of ele ments whose number and nature are ...
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Chapter 1: Undressing the Ad: Reading Culture in Advertising - jstor
Most sales messages are built upon shared cultural or ideological beliefs, and advertising copywriters and art di- rectors rely upon these shared belief systems ...
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Promotional Culture: Advertising, Ideology and Symbolic Expression
Jan 1, 1995 · Wernick's book in fact extends beyond many of the limitations of ideological critique, particularly the ahistoricism and formalism which ...Missing: artifacts | Show results with:artifacts<|control11|><|separator|>
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Key Theories of Wolfgang Iser - Literary Theory and Criticism
Feb 12, 2018 · In analyzing responses to a literary work, he says, “we must allow for the reader's presence without in any way predetermining his character or ...
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https://www.psupress.org/books/series/book_SeriesReReading.html
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Key Ideas of Sandra Gilbert and Susan Gubar
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Fragmented but coherent: Lexical cohesion on a YouTube channel
This paper investigates the use and functions of lexical cohesion within and across modes as well as levels of interaction on a YouTube channel.Highlights · Abstract · 2.2. Lexical Cohesion
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Analyzing the dynamics of social media texts using coherency ...
We present a novel approach utilizing coherency network analysis to investigate the dynamics of social media text.
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(PDF) Of (the Lack of) Authenticity in AI-Generated Content
Jul 25, 2025 · human authenticity can lead to ethical consequences for our society,. particularly when it comes to the evaluation of non-fictional writing.
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Deepfakes and the crisis of digital authenticity: ethical challenges in ...
Aug 12, 2025 · This study aims to investigate the ethical implications of deepfake technologies and their influence on public trust in digital content.
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[PDF] Multilingualism in the Digital Age: Code- Switching and ...
Abstract—The digital age has revolutionized communication, enabling multilingual interactions to flourish in virtual spaces. This study delves into the ...Missing: textuality | Show results with:textuality
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(Re)Thinking Literary Interpretation in the Digital Age: AI, Virtual ...
This study shows that AI and VR function as active forces shaping literary production and analysis as well as pedagogical practices.Missing: textuality | Show results with:textuality