Senior High School

Creative Writing
Quarter 2 – Module 2
Intertextuality

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 COPYRIGHT 2021

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 Senior High School

Creative Writing
Quarter 2 – Module 2
Intertextuality

ii
Introductory Message
For the facilitator:
Welcome to the Creative Writing Module on Intertextuality.
This module was collaboratively designed, developed and reviewed by educators
both from public and private institutions to assist you, the teacher or facilitator in helping
the learners meet the standards set by the K to 12 Curriculum while overcoming their
personal, social, and economic constraints in schooling.

This learning resource hopes to engage the learners into guided and independent
learning activities at their own pace and time. Furthermore, this also aims to help learners
acquire the needed 21st century skills while taking into consideration their needs and
circumstances.
In addition to the material in the main text, you will also see this box in the body of
the module:

Notes to the Teacher

This contains helpful tips or strategies that will help

you in guiding the learners.

As a facilitator, you are expected to orient the learners on how to use this module.
You also need to keep track of the learners' progress while allowing them to manage their
own learning. Furthermore, you are expected to encourage and assist the learners as
they do the tasks included in the module.

For the learner:

Welcome to the Creative Writing Module on Intertextuality.
This module was designed to provide you with fun and meaningful opportunities for
guided and independent learning at your own pace and time. You will be enabled to
process the contents of the learning resource while being an active learner.

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CONTENT STANDARD
The learners have an understanding of drama as a genre and are able to
analyze its elements and techniques.

PERFORMANCE STANDARD
The learners are able to compose at least one scene for a one-act play that
can be staged.

LEARNING COMPETENCY
The learners are able to understand intertextuality as a technique of drama.

LEARNING OBJECTIVES
At the end of this learning module the learner should be able to:
1. Identify textuality as a technique of drama.
2. Understand intertextuality as a technique of drama.
3. Compose sentences using intertextuality as a technique of drama.

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INTRODUCTION

Do you borrow phrases and concepts from other works in your own?
If yes, then you’re using intertextuality, perhaps even without knowing it.
Though it sounds intimidating at first, it’s quite a simple concept really.
Intertextuality denotes the way in which texts (any text, not just literature) gain meaning
through their referencing or evocation of other texts.
When writers borrow from previous texts, their work acquires layers of meaning.
In addition, when a text is read in the light of another text, all the assumptions and effects
of the other text give a new meaning and influence the way of interpreting the original
text.

HOW TO LEARN FROM THIS MODULE

In order for you to be able to finish and grasp the lesson in this module
please be guided with the following:
1. Start your day with a positive attitude
2. Make sure to plan how to do each of the activities.
3. Read carefully the directions and texts in the activities.
4. If you have questions please your teacher for help.
5. Lastly do your best in every module you do.

PRE – TEST

Name: Strand: Score:

Directions: Underline the correct answer.
1. _______________is stealing another person’s work without giving them
proper credit.
A. Citation C. Plagiarism
B. Intertextuality D. Reference

2. It is a particularly common form of deliberate intertextuality – it’s when one text

makes a deliberate, but subtle, reference to another.
A. Plagiarism C. Citation
B. Allusion D. Rhetoric

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3. The following statements are examples of intertextuality EXCEPT:
A. He was lying so obviously, you could almost see his nose growing.
B. He’s asking her to the prom. It’s like a happy version of Romeo and Juliet
C. It’s hard being an adult! Peter Pan had the right idea.
D. I’ve been hurt so many times, I tried but I’m tired.

4. It is the way that one text influences another.

A. The relationship between texts.
B. Allusions from one text to another.
C. The translation of a text into a different language.
D. All of the above.

5. Which of the following would not be an example of intertextuality?

A. A translation of one work into a different language.
B. A poetic homage to an earlier writer by adopting that writer’s theme and tone.
C. The main characters of two unrelated works coincidentally both named Bob.
D. All of the above.

6. Which of the following statements is not an example of intertextuality in Tom

Stoppard’s Rosencrantz and Guildenstern Are Dead?
A. Tom Stoppard used the same character names as in Shakespeare’s original
play.
B. The Disney movie The Lion King is also based somewhat on Shakespeare’s
Hamlet.
C. Parts of the Rosencrantz and Guildenstern Are Dead are exact quotes from
Shakespeare’s Hamlet.
D. None of the above

7. It is when the composer alludes to another text through ideas, symbols, genre or
style.
A. External reference C. Implicit reference
B. Internal reference D. Explicit reference

8. It is when the composer directly mentions, quotes or references another

text in their work.
A. External reference C. Implicit reference
B. Internal reference D. Explicit reference

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9. It is a type of intertextuality which refers to an imitation of another text for satirical
purpose; usually to mock.
A. Allusion C. Quotation
B. Parody D. Appropriation

10. It is a type of intertextuality which refers to a subtle or indirect reference to another

text, historical period or religious belief.
A. Allusion C. Quotation
B. Parody D. Appropriation

11. It is a type of intertextuality which refers to a reworking or re-imagination of a well-

known text to change or extend its meaning.
A. Appropriation C. Parody
B. Adaptation D. None of the above

12. It is a direct reference to another text with an acknowledgement of its composer.

A. Adaptation C. Allusion
B. Quotation D. None of the above

13. It is a type of intertextuality which refers to a film, TV drama or stage play that is
based on a written work.
A. Allusion C. Adaptation
B. Parody D. Appropriation

14. Which of the following is an example of parody?

A. JK Rowling’s Harry Potter series
B. Marcel Duchamp’s artwork
C. The theory and Practice of Oligarchical Collectivism
D. Margaret Atwood’s speech, Spotty Handed Villainesses

15. Why do composers choose to use intertextuality?

A. Because all texts have certain messages and portray certain perspective on
ideas.
B. They might be exploring a similar idea as the referenced text, or they could
challenge widely accepted views.
C. This can make us think and re-interpret the referenced text’s meaning
D. All of the above

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PRESENTATION OF THE NEW LESSON

For this module you will learn and understand the concept of intertextuality as a technique
in drama. This module tackles about the intertextuality that is used in writing drama.

ACTIVITY
Search for a certain drama. After choosing, pick up a certain part of a particular
drama that contains multiple levels of intertextuality. Write inside the box.

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ANALYSIS

Direction: Give your own brief interpretation of each literary peace that contains
intertextuality.

Those who have insinuated that Menard devoted his life to writing a contemporary
Quixote besmirch his illustrious memory. Pierre Menard did not want to compose
another Quixote, which surely is easy enough—he wanted to compose the Quixote.
Nor, surely, need one have to say that his goal was never a mechanical transcription
of the original; he had no intention of copying it. His admirable ambition was to
produce a number of pages which coincided—word for word and line for line—with
those of Miguel de Cervantes.
(“Pierre Menard, Author of the Quixote” by Jorge Borges)

So. The Spear-Danes in days gone by

And the kings who ruled them had courage and greatness.
We have heard of those princes’ heroic campaigns.
(“Beowulf” By Burton Raffel)

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 “Even God can have a preference, can he? Let’s suppose God liked lamb better
than vegetables. I think I do myself. Cain brought him a bunch of carrots maybe. And
God said, ‘I don’t like this. Try again. Bring me something I like and I’ll set you up
alongside your brother.’ But Cain got mad. His feelings were hurt. And when a man’s
feelings are hurt he wants to strike at something, and Abel was in the way of his
anger.”
(“East of Eden” by John Steinbeck)

CLAUDIUS: Welcome, dear Rosencrantz… (he raises a hand at GUIL while

ROS bows – GUIL bows late and hurriedly.)… and Guildenstern.
(He raises a hand at ROS while GUIL bows to him – ROS is still straightening up
from his previous bow and
half way up he bows down again. With his head down, he twists to look at GUIL, who
is on the way up.)
Moreover that we did much long to see you,
The need we have to use you did provoke
Our hasty sanding.
(ROS and GUIL still adjusting their clothing for CLAUDIUS’s presence.)
(“Rosencrantz and Guildenstern are Dead” by Tom Stoppard)

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 After all, to the well-organized mind, death is but the next great adventure.
(“Harry Potter and the Sorcerer’s Stone” by J.K. Rowling)

ABSTRACTION

What is intertextuality?
Do you borrow phrases and concepts from other works in your own? If yes, then you’re
using intertextuality, perhaps even without knowing it.
Though it sounds intimidating at first, it’s quite a simple concept really:
Intertextuality denotes the way in which texts (any text, not just literature) gain meaning
through their referencing or evocation of other texts.
It serves as a subtheme, and reminds us of the double narratives in allegories.
This term was developed by the poststructuralist Julia Kristeva in the 1960s, and since
then it’s been widely accepted by postmodern literary critics and theoreticians.
Her invention was a response to Ferdinand de Saussure’s theory and his claim that
signs gain their meaning through structure in a particular text. She opposed his to her
own, saying that readers are always influenced by other texts, sifting through their
archives, when reading a new one.
In a recent short story I was writing, I included a quote by Turgenev at the beginning,
which served as a sum-up of my main premise in the story.

Intertextuality Example
A famous example of intertextuality in literature is James Joyce’s Ulysses as a retelling
of The Odyssey, set in Dublin. Ernest Hemingway used the language of the
metaphysical poet John Donne in naming his novel For Whom the Bell Tolls.
Even the Bible is considered an instance of intertextuality, since the New Testament
quotes passages from the Old Testament.

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 Beware of Plagiarism
One thing you need to absolutely remember when evoking a reference to another work
is to make it clear it’s a reference. Once intertextuality has gained popularity, there were
cases of authors using phrases of other works, without indicating what they are doing.
There’s a thin line between using intertextuality as a literary device and plagiarising,
even if not intended.

Intertextuality as a Sophisticated Concept

A complex use of intertextuality is considered a sophisticated tool in writing. Rather than
referencing phrases from other works, a refined use of intertextuality involves drawing
upon an ideology, a concept, or even rhetoric from others.
Thus, you may explore the political ideology in your story by drawing upon the current
rhetoric in politics. Alternatively, you may use a text source and explore it further.
Looked at it this way, the popular rewriting of fairy tales in modern contexts can be viewed
as a highly cultured use of intertextuality.
To be sure, intertextuality is a powerful writing tool that shouldn’t be overlooked. It opens
new possibilities and perspectives for constructing a story.
Intertextuality (pronounced in-terr-text-yoo-a-lih-tee) is not a literary or rhetorical device,
but rather a fact about literary texts – the fact that they are all intimately interconnected.
This applies to all texts: novels, works of philosophy, newspaper articles, films, songs,
paintings, etc. In order to understand intertextuality, it’s crucial to understand this broad
definition of the word “text.”
Every text is affected by all the texts that came before it, since those texts influenced the
author’s thinking and aesthetic choices. Remember: every text (again in the broadest
sense) is intertextual.

Types of Intertextuality

a. Deliberate Intertextuality

Sometimes, intertextuality is the result of an author’s choice. When a heavy metal artist
makes references to Norse mythology, or when a novelist draws on the works of
Shakespeare as inspiration, these choices forge a relationship between the old text and
the new. We can call this deliberate intertextuality.

b. Latent Intertextuality

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Even when an author isn’t deliberately employing intertextuality, though, intertextuality is
still there. You can’t escape it! Everything you’ve ever seen or read sticks somewhere in
your memory and affects your understanding of the world. They all contribute to building
your specific worldview which, in turn, determines how you write or create art. We can
call this latent intertextuality.
Of course, since we can’t read an author’s mind, it’s not always easy to know the
difference between deliberate and latent intertextuality. We might find a similarity between
two texts, but we have no way to know whether it was deliberate or accidental unless the
author tells us!

The Importance of Intertextuality

Intertextuality shows how much a culture can influence its authors, even as the authors
in turn influence the culture. When you create a work of art, literature, or scholarship, you
are inevitably influenced by everything that you’ve seen or read up to that point. Even
seemingly disparate fields, such as music and philosophy, can exert a strong influence
on each other through intertextuality – the philosopher Nietzsche, for example, was
heavily influenced by the early operas of Richard Wagner. Similarly, authors from different
cultures and historical periods can influence each other!
Intertextuality also shows how a similar cultural, religious, political, or moral ideology can
be expressed in very different ways through different cultural practices. For example, think
about the way that art, music, literature, and philosophy all changed in the aftermath of
World War I. This earth-shattering event made people feel like nothing was stable or
certain, and this was reflected in all aspects of artistic and scholarly pursuits. Post-war
paintings were far more abstract and chaotic; post-war philosophy was nearly obsessed
with problems of evil and unpredictability; post-war music was more formless and atonal;
post-war novels questioned the rules of linear structure and chronology. Every aspect of
the society was affected by the events of this bloody war, and everything produced in its
aftermath shows plenty of latent (and sometimes deliberate) intertextuality.

Example 1
James Joyce’s Ulysses was a deliberate retelling of Homer’s Odyssey, but transplanted
out of ancient Greece into modern-day Dublin. The various chapters in Joyce’s novel
correspond to the adventures of Odysseus in Homer’s epic poem. For Joyce, the point
of this deliberate intertextuality was to show that ordinary people can experience
something heroic in their everyday lives.

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 Example 2

Steven Pressfield’s novel The Legend of Bagger Vance, which was adapted into a
movie starring Will Smith, was originally written as a re-telling of the Hindu epic
Bhagavad Gita – the name “Bagger Vance” is supposed to sound like “Bhagavad.” In
the original Hindu epic, the god Krishna discusses the importance of enlightenment and
warrior virtues with Prince Arjuna – the novel / movie transplants this ancient story onto
the links of a golf course.

Related Terms

External Allusion
Allusion is a particularly common form of deliberate intertextuality – it’s when one text
makes a deliberate, but subtle, reference to another.
Citation
Citation is another common form of deliberate intertextuality – unlike allusion, it isn’t
subtle at all! The point of a citation is to acknowledge, loud and clear, that the author is
borrowing an idea or phrase from someone else. Citation is about giving credit to the
original author.
Plagiarism
Plagiarism is stealing another person’s work without giving them proper credit. In formal
essays, it’s important to cite your sources so that you won’t be guilty of plagiarism.
Sometimes the line between latent intertextuality and plagiarism is muddy. For example,
imagine a young comedian sees an older comedian on stage at a club. Years later, the
young comedian uses a joke that he heard that night – but he’s forgotten that he ever
heard it! It was just lying buried in his memory all those years until it came out when he
was writing a new set of jokes. This is an accident, and it’s certainly latent intertextuality.
But it’s also plagiarism, even though it was accidental! That’s why it’s important to be very
careful about using other people’s texts in your own work.
Intertextuality is the way that one text influences another. This can be a direct borrowing
such as a quotation or plagiarism, or slightly more indirect such as parody, pastiche,
allusion, or translation. The function and effectiveness of intertextuality can often depend
quite a bit on the reader’s prior knowledge and understanding before reading the
secondary text; parodies and allusions depend on the reader knowing what is being
parodied or alluded to. However, there also are many examples of intertextuality that are
either accidental on the part of the author or optional, in the sense that the reader is not
required to understand the similarities between texts to fully grasp the significance of the
secondary text.

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We use different examples of intertextuality frequently in common speech, such as
allusions like the following:
• He was lying so obviously, you could almost see his nose growing.
• He’s asking her to the prom. It’s like a happy version of Romeo and Juliet.
• It’s hard being an adult! Peter Pan had the right idea.

Different types of intertextuality

There are many different types of intertextuality. All of them refer to texts in different
ways to produce and shape meaning.
1. Allusion: A subtle or indirect reference to another text, historical period or
religious belief.

For example: T.S Eliot mentions a celestial rose in his poem Hollow Men, this
rose comes from Dante’s Paradiso. This is an allusion because he did not
mention the composer.
2. Parody: An imitation of another text for satirical purpose, usually to mock.

For example: In Nineteen Eighty-Four, George Orwell has Winston read the
political tract, ‘The Theory and Practice of Oligarchical Collectivism’, which is a
parody of the communist revolutionist’s, Leon Trotsky’s writing.

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 3. Quotation: A direct reference to another text with an acknowledgement of its
composer.

For example, In Margaret Atwood’s speech, Spotty Handed Villainesses, she

quotes Dame Rebecca West, saying, ‘Ladies of Great Britain… we have not
enough evil in us’.

4. Appropriation: A reworking or re-imagination of a well-known text to change, or

extend its meaning.

For example: Marcel Duchamp’s artwork, L.H.O.O.Q is an appropriation of Da

Vinci’s Mona Lisa. Duchamp took an image of Da Vinci’s painting and drew a
moustache on it.

5. Adaptation: A film, TV Drama. or stage play that is based on a written work.

For example: JK Rowling’s Harry Potter series has a film adaptation.

Exercise 1.
Direction: Find the intertextual references within the passage.

Intertextual References

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APPLICATION

Direction: Craft a short script that consists multiple level of intertextuality that can be
performed during the stage play. You can choose any genre. Your short script will be
graded based on the rubric below.

(Title) _________________________________________________

SCORE 1 2 3 4

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Conventions The final draft There is more There are few There is no
has many than a few grammar grammar
grammar, grammar, capitalization, capitalization,
capitalization, capitalization, spelling, or spelling, or
spelling, and spelling, or punctuation punctuation
punctuation punctuation errors in the final errors in the
errors. errors in the draft. final draft.
final draft.
Organization Ideas and The plot is a The plot is well The story is
& Clarity scenes seem to little hard to organized. One very well
be randomly follow. The idea or scene organized.
arranged. transitions are may seem out One idea or
sometimes not of place. Clear scene follows
clear. transitions are another in a
used. logical
sequence with
clear
transitions.
Direction There are no Stage directions Stage directions Thorough
and Format stage directions and camera and camera thought and
or camera shots/movement shots/movement understanding
shots/movemen s are present, s are are
ts detailed. but more could appropriate. demonstrated
Little to no have been Proper script regarding
consideration of used. Frequent format has been stage
script format. mistakes in utilized, directions,
script format. demonstrating a camera
good general shots/moveme
understanding. nt and script
format.

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Story and No 3-Act Story. Basic 3-Act Solid 3-Act Solid 3-Act
Creativity Little or no Story exists. Story that Story that
imagination/cre The story contains contains many
ativity in contains a few creative details creative
storyline. creative details and/or details and/or
and/or descriptions to descriptions to
descriptions, but enhance the enhance the
they distract story. story.
from the story.
Characters It is hard to tell The main The main The main
who the main characters are characters (2-4) characters
characters are. named. are named and (24) are
There is only 1 Dialogue and described. named and
main character. stage directions Dialogue and clearly
have limited stage directions described.
expansion of somewhat Dialogue and
character expand stage
development. character directions
development. expand
character
development.
Dialogue Hard to follow It is usually It is clear which It is always
what character clear which character is clear which
is speaking. character is speaking. character is
Minimal effort is speaking. Dialogue is speaking.
put into Dialogue is acceptable, but Dialogue is
conversations. choppy and not could be more well
well developed. varied in developed and
structure. varied.

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ENRICHMENT
Procedures
1. First, play the Katy Perry Video Roar.

Guide Questions:
• What the song is all about?
• What the line “eye of the tiger” means in Perry’s song and if you have
heard the saying before.

2. Watch the Survivor’s 1980s music video Eye of the Tiger.

Guide Questions:
• How does this video inform your understanding of Katy Perry’s song
Roar?
• In what ways does this song change your understanding of Katy Perry’s
song? “
Note:
Intertextuality is when a text ‘s meaning (story, book, article, song, video, movie) is
influenced by another text. Intertextual references can be subtle or obvious. The
key idea is that these intertextual references allow for a deeper understanding of
the text. Katy Perry’s music is a great example because she references so much
music history in her songs – from Radiohead to Johnny Cash.

3. Watch Queen’s video We are the Champions

• What are the messages all three of these artists trying to communicate?
• What are the commonalities and reoccurring patterns between the
previous songs?
Note:
“Intertextual thinking can also be looking at patterns of events across stories, or
looking at how authors have chosen to convey ideas about the same topic in
different ways.”

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POST – TEST

Name: Strand: Score:

Direction: Underline the correct answer.
1. Which of the following is an example of parody?
A. JK Rowling’s Harry Potter series
B. Marcel Duchamp’s artwork
C. The theory and Practice of Oligarchical Collectivism
D. Margaret Atwood’s speech, Spotty Handed Villainesses

2. It is when the composer directly mentions, quotes or references another

text in their work.
A. External reference C. Implicit reference
B. Internal reference D. Explicit reference

3. It is the way that one text influences another.

A. The relationship between texts.
B. Allusions from one text to another.
C. The translation of a text into a different language.
D. All of the above.

4. Why do composers choose to use intertextuality?

A. Because all texts have certain messages and portray certain perspective on
ideas.
B. They might be exploring a similar idea as the referenced text, or they could
challenge widely accepted views.
C. This can make us think and re-interpret the referenced text’s meaning
D. All of the above

5. It is when the composer alludes to another text through ideas, symbols, genre or
style.
A. External reference C. Implicit reference
B. Internal reference D. Explicit reference

6. _______________is stealing another person’s work without giving them

proper credit.
A. Citation C. Plagiarism
B. Intertextuality D. Reference

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 7. Which of the following would not be an example of intertextuality?
A. A translation of one work into a different language.
B. A poetic homage to an earlier writer by adopting that writer’s theme and tone.
C. The main characters of two unrelated works coincidentally both named Bob.
D. All of the above.

8. It is a type of intertextuality which refers to an imitation of another text for satirical

purpose; usually to mock.
A. Allusion C. Quotation
B. Parody B. Appropriation

9. It is a type of intertextuality which refers to a subtle or indirect reference to another

text, historical period or religious belief.
A. Allusion C. Quotation
B. Parody D. Appropriation

10. It is a type of intertextuality which refers to a reworking or re-imagination of a well-

known text to change or extend its meaning.
A. Appropriation C. Parody
B. Adaptation D. None of the above

11. It is a direct reference to another text with an acknowledgement of its composer.

A. Adaptation C. Allusion
B. Quotation D. None of the above

12. It is a type of intertextuality which refers to a film, TV drama or stage play that is
based on a written work.
A. Allusion C. Adaptation
B. Parody D. Appropriation

13. It is a particularly common form of deliberate intertextuality – it’s when one text
makes a deliberate, but subtle, reference to another.
A. Plagiarism C. Citation
B. Allusion D. Rhetoric

14. The following statements are examples of intertextuality EXCEPT:

A. He was lying so obviously, you could almost see his nose growing.
B. He’s asking her to the prom. It’s like a happy version of Romeo and Juliet
C. It’s hard being an adult! Peter Pan had the right idea.
D. I’ve been hurt so many times, I tried but I’m tired.

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15. Which of the following statements is not an example of intertextuality in Tom
Stoppard’s Rosencrantz and Guildenstern Are Dead?
A. Tom Stoppard used the same character names as in Shakespeare’s original
play.
B. The Disney movie The Lion King is also based somewhat on Shakespeare’s
Hamlet.
C. Parts of the Rosencrantz and Guildenstern Are Dead are exact quotes from
Shakespeare’s Hamlet.
D. None of the above

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ANSWER KEY
Pretest Posttest
1. C 1. A
2. C 2. D
3. D 3. B
4. B 4. D
5. A 5. C
6. D 6. C
7. C 7. A
8. D 8. B
9. B 9. A
10. A 10. A
11. A 11. B
12. B 12. C
13. C 13. C
14. A 14. D
15. D 15. D

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REFERENCES

https://www.matrix.edu.au/literary-techniques-intertextuality/
https://www.slideshare.net/margokreole/intertextuality-44208541
http://www.literarydevices.com/intertextuality/
https://literaryterms.net/intertextuality/

https://thewritepractice.com/intertextuality-as-a-literary-device/

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For inquiries or feedback, please write or call:

Department of Education – Schools Division of Surigao del Norte

Peñaranda St., Surigao City
Surigao del Norte, Philippines 8400
Tel. No: (086) 826-8216
Email Address: [email protected]

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