Intertextuality is the shaping of a text's meaning by another text, either through deliberate compositional strategies such as quotation, allusion, calque, plagiarism, translation, pastiche or parody, or by interconnections between similar or related works perceived by an audience or reader of the text. These references are sometimes made deliberately and depend on a reader's prior knowledge and understanding of the referent, but the effect of intertextuality is not always intentional and is sometimes inadvertent. Often associated with strategies employed by writers working in imaginative registers (fiction, poetry, and drama and even non-written texts like performance art and digital media), intertextuality may now be understood as intrinsic to any text.
Intertextuality has been differentiated into referential and typological categories. Referential intertextuality refers to the use of fragments in texts and the typological intertextuality refers to the use of pattern and structure in typical texts. A distinction can also be made between iterability and presupposition. Iterability makes reference to the "repeatability" of certain text that is composed of "traces", pieces of other texts that help constitute its meaning. Presupposition makes a reference to assumptions a text makes about its readers and its context. As philosopher William Irwin wrote, the term "has come to have almost as many meanings as users, from those faithful to Julia Kristeva's original vision to those who simply use it as a stylish way of talking about allusion and influence".
Julia Kristeva was the first to coin the term "intertextuality" (intertextualité) in an attempt to synthesize Ferdinand de Saussure's semiotics—his study of how signs derive their meaning within the structure of a text—with Bakhtin's dialogism—his theory which suggests a continual dialogue with other works of literature and other authors—and his examination of the multiple meanings, or "heteroglossia", in each text (especially novels) and in each word.
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Literature is any collection of written work, but it is also used more narrowly for writings specifically considered to be an art form, especially prose fiction, drama, poetry, and including both print and digital writing. In recent centuries, the definition has expanded to include oral literature, also known as orature much of which has been transcribed. Literature is a method of recording, preserving, and transmitting knowledge and entertainment, and can also have a social, psychological, spiritual, or political role.
A parody is a creative work designed to imitate, comment on, and/or mock its subject by means of satiric or ironic imitation. Often its subject is an original work or some aspect of it (theme/content, author, style, etc), but a parody can also be about a real-life person (e.g. a politician), event, or movement (e.g. the French Revolution or 1960s counterculture). Literary scholar Professor Simon Dentith defines parody as "any cultural practice which provides a relatively polemical allusive imitation of another cultural production or practice".
Allusion is a figure of speech, in which an object or circumstance from an unrelated context is referred to covertly or indirectly. It is left to the audience to make a direct connection. Where the connection is directly and explicitly stated (as opposed to indirectly implied) by the author, it is instead usually termed a reference. In the arts, a literary allusion puts the alluded text in a new context under which it assumes new meanings and denotations.