is the ways texts make reference to other texts. These references may be explicit such as an allusion implied by the many different ways a composer can draw our attention to other texts (such as parallel situations, sameness of genre, satire, parody etc.) inferred from your own reading. This refers to the way that you draw on your own experience of texts. These references need not have occurred to the composer and can in fact be drawn from texts composed at a later period. For example, our reading of the original Emma by Jane Austen is affected by the fact that we have seen the film Clueless.
The explicit or implicit echo of one text in another text. This may take the form of explicit cross-references, or implicit, latent themes.
the multiple ways in which a text is entangled with or contains references to other texts, such as London's references to the Bible, Milton, or Burns, all sources with which his contemporary readers would be familiar.
past experience of content, form, genre, voice and style that readers bring to any new text
When a media text makes reference to another text that, on the surface, appears to be unique and distinct.
Study of the way in which the text of one poem may relate to the text of another poem. This may occur through allusion or parody or the fact that one poet is influenced by the work of another poet. Intertextuality challenges the view that any one poem exists in isolation.
the construct that "meaning derives from readers' transaction(s) with the text in which [they] apply their knowledge of literary and social convention to that text" (Beach et al., 1994).
Intertextuality is the shaping of texts' meanings by other texts. It can refer to an authorâ€™s borrowing and transformation of a prior text or to a readerâ€™s referencing of one text in reading another. The term â€œintertextualityâ€ has, itself, been borrowed and transformed many times since it was coined by poststructuralist Julia Kristeva in 1966.