The Genre of Trolls - Doria

(cf. Rimmon-Keenan 2001: 2). Story, and to some extent text, are employed
synonymously with narrative. Text is also understood to be characterized
by the connectedness of its components and the concepts underlying
them (cohesion and coherence). It is constructed by the performer,
on conscious as well as unconscious levels, and its production is related to
the surrounding situational, social and cultural context. The text is a system
in which each component is vital for the functioning of the system (cf.
Björklund 1993: 21), and in addition, it is an intertextual phenomenon
connecting communicative speech to other types of anterior or synchronic
utterances. The text is therefore a productivity, implying that: 1) it redistributes
language, i.e., it changes and transgresses both linguistic and logical
categories; 2) it is an intertextuality, i.e., a permutation of texts: within the
space of the text several utterances drawn from other texts cross and neutralize
one another (Kristeva 1978: 52). The intertexts are consequently the
utterances absorbed into and transformed in the text (Kristeva 1978: 84–85).
One detail in the explication of intertextuality above is objectionable,
however, and that is the notion of intertexts neutralizing each other. Then
the tension, the dialogue between the utterances constituting the text would
disappear, and a significant component of its productivity would vanish.
Kristeva’s inspiration in devising the concept of intertextuality, Mikhail
Bakhtin, used the word dialogue in a number of different, but related
senses; I will only refer to those relevant to my own study (see also chapter
1.4.1). Firstly, dialogue exists within the word, as any word we utter has
been pronounced by others before us, imbuing it with the views, shared
thoughts, value judgements and accents of others. Our own appropriation
of the word enters into complex interrelationships of association, dissociation
and intersection with those alien elements, which influences the actualization
of the word (Bakhtin 1986a: 276). Secondly, there is dialogue
between points of view or discourses within the same utterance, hybridization.
By this Bakhtin meant the fusion of the discourse of the author
with the discourse of the narrator, the implicit author or the characters
within a single proposition, so that the person from whose point of view
the text is structured cannot be pin-pointed (Bakhtin 1986a: 301–308). The
conception of perspectives or discourses in dialogue has been assimilated
into folkloristic research (see e.g. Tarkka 1994: 251, 263–265, 295). Thirdly,
Bakhtin construed the relation between speaker and listener as a dia-
logue. He calls this form of dialogue addressivity, which he defined as the
Delimitations and Definitions 11