A lot of created media out there has little easter eggs, influences or adaptions from other materials, meaning that intertextuality is more than just a question of ‘which came first?’ Varying degrees of influence have their way with texts, such as storylines being lifted and reskinned with different characters, popular tropes carrying across genres – or more low-key examples of intertextuality, like a cameo appearance or throwaway line.
So in this article, we’ll be trying to narrow down intertextuality – the relationships between texts. From little secret flings in the form of hidden influences all the way to married texts: ones with clear links between them, the majority of texts do have some form of intertextuality.
Hypertext and hypotext
Hypertext in computing terms relates to text that ‘branches’, allowing the user to interact and select the version that they want to choose, usually in the form of hyperlinks. Its meaning for literature follows similar lines, where a text (hypertext) will derive from an earlier form (hypotext).
What is intertextuality?
Initially proposed in the 1960s by literary critic Julia Kristeva, intertextuality is the link between one text and another – whether it be through fleeting mention, influence, allusions, citations, or any other method. This forms a larger argument as to whether any text can be truly original, which we’d be here all day debating if we went deeper into that aspect of things…
‘The be-all, end-all’
Coming from Macbeth, this phrasing refers to his mullings over killing Duncan – that even if he did choose to assassinate him, there would still likely be consequences to come. This phrase means the ultimate goal, or the epitome of something, as in when it is achieved, there will be nothing else to top it.
Intertextuality as a literary device is closely associated with forms of pastiche (and sometimes parody), with some intertextual references being exact phrases or lines of dialogue. But there are also different forms of intertextuality, based on how purposeful the inclusions are.
Types of intertextuality: deliberate
Deliberate intertextuality is the conscious choice to include references to another text by an author. Commonly but not always, this type of intertextuality is a lot more prominent in the text, featuring plots, actual lines or other noticeable features as opposed to latent intertextual references.
Perhaps the most common example of deliberate intertextuality is that the plot of Shakespeare’s Hamlet being referenced in Disney’s The Lion King – a jealous uncle, guidance from a ghost, and a prince in exile. It’s not a direct rip of course, with there being no lions mentioned in Denmark and a much lighter tone of the creature-feature: but this is a great example of intertextuality in the form of plot. Timon even sneaks in a reference to the playwright when he asks, ‘What’s in a name?’ – which comes from Romeo and Juliet, another of the Bard’s plays.
Types of intertextuality: latent
Latent intertextuality refers to texts where references will occur incidentally, more often than not having similar theming, moods or influence which are a little more nuanced. There won’t usually be direct references, quotes or characters included in latent intertextuality – you’ll have to work a little harder to uncover the links in these types of text.
Shrek includes a lot of both types of intertextual references – but its latent ones won’t necessarily affect anyone’s interpretation of the storyline, but can add a little bit of additional comedy or understanding.
Hypnotising, isn’t it?
That was us scratching the surface of intertextuality – this thing has massive roots across all genres, so hopefully that basic understanding was enough to seek out your own examples. Often you run the risk of dating a work when using a reference which will make it ‘of its time’ – however, this may also be a good thing, if that’s what you’re going for!
Impish Fen 
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