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eaver, must . y 2 process uf transtersnce, bestow them on the product heing, promoted. due, do, fe furs: example (which Zas a pierure of a woman in a Rsnatit car) intertextuality end allusion E ¿re being encouraged to buy a Renatit car by suggesting that + will ja Woclf was seekíug fos as can also serve fo Hattez ES ¿ant them some of thc indepcadencs that Vis 25 Tomenin A Room of One's (wn (1929). Suela a So, wit tbe “gond taste Iwelfih Night) — who will Sully appreciete Bouraville chocolate. Curiously, the to recognize an allusior 20 Shakespeare (the fest fins, of 1 Alusion 2 pávertisements in (hc Observer magaziue of 20 February 2005 are coutras'ingly SES Egka on allusions, excspt for South American. Odyssey” (advertising a holiday An “Allusion” oceurs y hea one in Sonth America) — and, even in this szample, it is perhaps not necessary fo: text makes an implicil or explicit reference tu bal allusioa an actual quotation is 7 “note z J 's mude and: sigualled with quotation marks. fn an implicit verbal allus) : and the original wording is sometimes changed to suit the new context, Thns: Ye oporing of Wordswori's The Prelude (1805) aludes to the end of Milto.ys Paradise Lost (1687) without actually quoting tro: another text. ln an exp "2, a a - Apleit ver A readers to realizo lhal lis ds a reference to vne ul Horme:%y eples, since (he lion, nO signal is given E rord “odyssey” has come to mean any ¡ong, evontful journey (sixtecn nights. viu this case!) S Allusions are also rsed in the tiñies of newspaper and magazine articles. $" The New Scientist magazine of 20 March 1999 includes tas following titles: — Forever Young (article aboul lhe voutlfaluess cf New Scientist readers); The Long Gioodeyc' (artiel about the extinclion ol (he Murth Atlantic right whale). “Something Rotten * (article about blnebottles); “For Your Ears Orly (article about radio), Trouble in Paradise? (articie abont ecological loss E Ceribocan islands); nd “Where No Chi Has Gone Before* (article about Motorola). Here the altusions are primarily lo pop songs, films and telovisicn, reaching back to tha 1970s or before, and to well-known literary texts. We * iglú understand the conmsistenoy in the range oí these allusions as a product of authorship, arising from the identity of [hc megazino's editor (perlzps one person with a particular kind of cultural knowledge writes the titles). At the same limo, Lbis consisleney also positions ths reader by telling the reader whe recognives the asfusions that tais magazine is for him or her — thar is, for a person of e certain age and with a certaín range of cultural nowleé ge. The earth is all betore me: with a heart Joyons, nor scared at its own liber? look about, and should the guide 1 choose Be nolting betrer (han a wardering cloud, 1 cannot miss my way. (The Preiude, l, 15 -19) Th World was all before tem, where to uhoose Thetr place of rest, and Providence their guide: They hand in hand with wand ing steps and slow, Through Edeu took their solitary way, (Paradise Lost, XUL, 6469) Allusion as a means of establishing u relation to a le - 13.1.2 Variefies o ellusion cultural or literary tradition ! Dudon corno . Texts may alludo ¿o olhor texts in a varicly of ways, of which tiese are tha l sion serves to place a test within the texma) network that makes up a ltural tradition. Because of this, alusion can be used ding cultural vane to a £; amnosf common: : simaply as a way ol Ext. This is a common device in advertisemenas. For arople, in the Obserzer magazinu of 8 May 1988, there arc four 1 Tlcough a verbal reference lo auotlsr text (as in te way Zhc Pre : 4 advertise reters to Paradise Lost throngh a simiarity of phrasing). Íy+ 2 Throvgh epigraphs (au iusenptor at the beginning of (he text). Ty Fiol pocm “The lloilow Men (1925) has an epigraph taken from Joso Conrad's Heart ef Deskness (18 1311202): Mistah. Kurtz — he dead". invites the reader to luul: Lor a significant redavionship between the POR, and the novel — wit is perhaps that both texts euggest there is hoy ess at the heart of European 'man' in the carly Iwentict century, krough names of cluwaciers. Yhus the nome Stephen Dedalus, ¿5,4 central characion in James Joyec's 4 Portras of he Artist as a Young Kan (1914), refers 10 Daedatus, a character in Gire mythology who "muge sings, by which hc Bow tom Cree across the archipelago ls perpetuated in our daedal. skiliul, fertile %of invemticw" (Breverr, Diriionary of Phrose and Fable) 4 Through choice of titles, Tuws te ¡de of Williám Faulkener's novel 246, Sena ana ske Fary (1998) is un explicit allusion 10 Machenls despairinp elaios that life £s rotluiug but “a tale / Told by an idiot, full of sound ana Fury, / Sinifying vothing' (Shakespeare, Macherfi (1608), Y, y, 26-8), 1.3 Allusion in film, 1Y and music The process of allusion is su. confined to Hiterature and advertisements, brit muay be found in most celcural and artistic forms. Music may allude to earliez> irusic (e.p. Straviwiiy's aluesioas to Back, or the Beafles aMusions to the French netional anthexa sud “Groensiesves" in “All You Need is Love”). A compleg example is presentod by the band Rig Daduy, who rolcascd a record called Sar Peppers (1992) — a reworkine of ue Beatios Sgt Peppers Lonely Hearts Club Band (1967) performed erticely using instreraents and musical styles 0% Me 19505. Tho Beatles" original pevord iisclf alludes to, 2nd rewowks. 29505” auusic (2mong otber kinds of music), but when Big Daddy re perfouned il as a 19505 record, styles mesely alluded to in te original hecame he sorgs" dominant syle. Woody Alep's films trequendy meke 0Imsions lo Eteraruro and lo other ñlms: Pluy li Again Sam (1972) is a stvíkiug example that makes 2 series ol alnusious to Casabianca (1942). Francis Ford Ceppola's Apocalypse Now (1979) =xists within a complex nefwotl ul allusions to Conrad and TE dt is jo essence a rowzitiag of Heart ej Darkness, but towards he end the Eut Ciaccter (played by Marlon Brando) reads Eliot's poem “The Hollow Men — which reverses the relationship belwces Heart of Dartness 216 “Theo Hollow Mew” roted earlis: A combinacion of musical and wirrativo allusion indicates that the television serios Sar Trek Voyager (1995) is a version of The Wizard o£ Oz (1939) (he "IV thome tune begins vet u Úve-note motif that, stripped afits initial mozo, is he beginning of the Glo's most famous song 'Somuswhe;e Ova the Rainbow. while the filos basic story is reproduced in the television series — wtich is about a spuceship that is captained by a woman end crowed by individuals who jupresent accormated erañts bat lack cerca qualinios; to ship and crew ¿ue swept into another part of fhe galaxy. wberz taey Lil As mame Peores olodi INTEREZATUALTY AND ALLUS Even icked witcH" who brags them there ¿rd tion try lu yet ho rqicked witch" E e ing in tae “1'V series can be part ol che sel ex al ln: lne alias croarure “Noolix' is dressed and wxkerel ¡Be a manera 13.1.4 Allusion sigaals a re:ationship botwnen texts e acoquese sending ol a Btercry cu crher cultural text vll need lo reco De ena se of tas weys il mteracta vvith earlier texts. bis ipvolves Eyine e ou. loe similesies and dilisiences Terneen the two xls lat ace meter « together by an allusica. By ohoosing the title The Souna e Pais, Fallas ls presumably Snvrting us to compare the evers and «Memes of his novel witl: Macks's nihilisas despuiz. le 4 Pormaie af he Aris, ¿je mane Stepton Dedajus invites he reador to Jos vw for gareliels botes “he novel mad 1hs story ul Duedatus. ls “here somo sounerticn with ¿he ALE cord Or ls the emptasis un Sephen's aspirations 10 be au arterial, de of inventor). or on lailwe (since Icerus. his son. dies 1 su e 15.*.5 A way of reading ellesions “Thomas Husdy's ncvels can cficn scom uverleaded with allusions. but some of homo ace charged wiih a sígnificanco tasl 1u ucequaze reading canso” affore do pass by. la Jess uf he D'Drbervilles (2891), Lou esample, Aoc d'UrborviLe, Tess's evensral seducs:, -uakes as alusión “hal, il she “ad sporied lt, might have allowed Ys Lo usoid her ragedy. Esuly cn in Me rovel, Tess impor existe perems send bez te work for a rich tamy o wlow they mistakeniy jale they are related in some way. TesYs new cmplayez, Mis CUrhenl lio luces nothing ol the suppased Kinship. sets her to work looking af >vully and vollñactes. One of the sesponsitilitios involved de Azoki “hc bulllinches is to wiisls to thor 10 order to “teach "em ais”. Alos, des so.calicó corsia, soles her valrly artempting lo proctise whistling anc 2£kos «Ms as an opportumly co Mict wit her:
