Intertextuality in Transcultural Literacy for Global Education and Soft Power Diplomacy

Abstract

Intertextuality remains underexplored in transcultural literacy. Wing Kardjo's work serves as a case study in this research. Kardjo was an Indonesian poet who shaped Indonesian literature from 1955 to 1998 and studied in Paris. This study i. analyzes Kardjo's intertextual engagement with French literature in his sonnet “Pasar,” which critiques urbanization in Indonesia by drawing on Baudelaire's Les Fleurs du Mal and Rimbaud's Illuminations, and ii. explores the transposition of the poète maudit myth from Verlaine and French Symbolism into Indonesian Modernism in “Le Poète Maudit”. Using Kristeva's comparative intertextual analysis, grounded in Kristeva's theory, it shows how Kardjo recontextualizes these themes, transforming the poète maudit myth into a symbol of national struggle during Indonesia's New Order. This study reveals that i. Kardjo's “Pasar” not only resonates with Baudelaire's and Rimbaud's works but also adapts these themes within the Indonesian socio-cultural landscape, and ii. the poète maudit myth in his sonnet reflects Indonesia's ideological shifts. The findings suggest that Kardjo's intertextuality fosters cross-cultural understanding and highlights important implications for educators by showing how literature can address global issues like cultural identity, with broader impacts on global education, international dialogue, and soft power diplomacy.

1. Introduction

Intertextuality, has not been widely explored in the context of cross-cultural studies. It is often used to analyze two texts or works, comparing similarities and differences between the new text and its original source, usually within the same language. However, in today's connected world, intertextuality is crucial for examining cultural connections, the relationships between values in social-political contexts, and the interdependence of meaning. Literature serves as a powerful tool for soft power diplomacy by facilitating cultural exchange and mutual understanding between nations, as it transcends linguistic and cultural barriers. Unlike traditional diplomacy, which often relies on formal political channels, literature allows countries to share their histories, values, and perspectives in a more nuanced and engaging way. This makes it an ideal medium for building bridges between nations. Promoting transcultural literacy—the ability to understand and appreciate diverse cultural viewpoints—is especially important in this context. It enables people to engage with global perspectives, encouraging empathy and reducing cultural biases. In global education, transcultural literacy is increasingly essential as students and professionals need the skills to navigate a rapidly interconnected world. While intercultural studies and comparative literature already contribute to this goal, there is a growing need to expand these efforts, focusing more explicitly on literature's role in soft power diplomacy. By enhancing transcultural literacy, educational systems can contribute to more harmonious international relations, leveraging literature as a bridge between cultures.

Wing Kardjo (1937-2002) is a quite significant figure in Indonesian literature, recognized for his contributions to poetry during a transformative era from 1955 to 1998. Born in Garut, West Java, he pursued a diverse educational journey that included studies in French literature in the prestigious Sorbonne in Paris for his doctoral studies, completing his PhD in 1981. His experiences in France not only enriched his linguistic skills but also allowed him to immerse himself in the rich traditions of French poetry. Upon returning to Indonesia, Kardjo became an influential educator and literary scholar, holding academic positions at various institutions, including the University of Padjadjaran Bandung and Tokyo University of Foreign Studies, where he fostered cross-cultural exchanges through literature. His sonnet collection, Fragmen Malam – Setumpuk Soneta, encompasses 42 years of his poetic oeuvre. The earliest poem, composed in 1955, reflects the period shortly after Indonesia's independence, during Sukarno's Old Order regime, while the final poem was written around 1997, just a year before the fall of Suharto's New Order regime and the subsequent emergence of the Reform Era. Consequently, Kardjo's work serves as a chronicle of Indonesia's political and social evolution over several decades.

Not only Fragmen Malam – Setumpuk Soneta (1997) which is substantial for Indonesian literacy, Kardjo's literary legacy is also marked by works such as Selembar Daun (1974) and Perumahan (1975). His poetry often reflects a deep engagement with themes of love, alienation, and existentialism, articulated through a lens that merges personal experience with broader societal concerns. Kardjo's poetry is characterized by its expressive style and a commitment to authenticity, demonstrating his belief that literature should be a sincere reflection of one's experiences. In addition to his original works, Kardjo's notable translation is Sajak-Sajak Prancis Modern dalam Dua Bahasa (1975), has successfully conveyed the essence and aesthetics of 19 French Modern poets while simultaneously introducing them to the Indonesian public. His contributions continue to resonate within the literary community, emphasizing the enduring relevance of his work in discussions of transcultural and cross-cultural narratives; and Le Petit Prince by Antoine de Saint-Exupéry further illustrates his commitment to fostering literary dialogue across cultures.

In the realm of soft diplomacy, Kardjo's poetry reflects Indonesia's evolving national identity while engaging with global literary forms, serving as a conduit for cultural dialogue and promoting Indonesia's intellectual contributions internationally. By bridging Indonesian and Western modes of thought, Kardjo's work fosters a form of cultural diplomacy that transcends political borders and encourages mutual understanding within the global community. Furthermore, intertextuality could emerges as a potent tool for soft diplomacy, utilizing cultural exchange to cultivate cooperation and understanding between nations. Literary texts possess the capacity to transcend geographical and cultural boundaries, offering insights into diverse social realities and human experiences. By invoking resonant themes, symbols, and narratives, authors can create spaces for dialogue and empathy, enhancing appreciation for one's own literary heritage while fostering respect for others. Thus, through intertextual connections, literature serves as a vehicle for soft diplomacy, promoting cultural understanding and encouraging peaceful coexistence in an increasingly interconnected world.

Recognizing the significance of intertextuality within the domain of transcultural literacy for global education and soft power diplomacy, this study employs an intertextual approach to explore the connections between Indonesian and French literary texts, focusing on how Wing Kardjo adopts, adapts, or responds to French literature in light of Indonesia's socio-political context. By taking some samples from his whole collection Fragmen Malam – Setumpuk Soneta, this research aims (1) to analyze how the poem “Pasar” in Kardjo's work reflects and critiques urbanization, and how its intertextual connections with Baudelaire's “Le Cygne II” in Les Fleurs du Mal and Rimbaud's “Métropolitain” in Illuminations serve as hypograms; and (2) to explore the transposition of the poète maudit myth from Verlaine and French Symbolism to Indonesian Modernism through Kardjo's sonnet “Le Poète Maudit”.

 

2. Method

This research employs a qualitative methodological approach, utilizing intertextuality and comparative literary analysis through Kristeva's framework to explore the interrelationships between themes, concepts, and styles from French poetic traditions as they appear in Kardjo's work. The methodology includes a literature review, critical analysis, and comparative analysis. The literature review gathers and examines relevant works related to the research topic, while the critical analysis investigates both explicit intertextual elements, such as quotations and allusions, and implicit features, including themes, discourses, and stylistic aspects of Kardjo's sonnets, particularly their visual structure.

For the first objective of the research, the data consists: (1) the poem “Pasar” from the final chapter “Lampiran: Merampok Kata / Memperkosa Soneta” in Fragmen Malam – Setumpuk Soneta [1]; (2) Charles Baudelaire's “Le Cygne II” from Les Fleurs du Mal (Second Version 1861) [2]; and (3) Arthur Rimbaud's “Métropolitain" from Illuminations [3].

Secondly, to explore the transposition of the poète maudit myth, the analysis draws on Paul Verlaine's anthology Les Poètes Maudits [4], which examines the lives and works of poets like Tristan Corbière, Arthur Rimbaud, Stéphane Mallarmé Marceline Desbordes-Valmore, Villiers de l'Isle-Adam, and Pauvre Lelian (an anagram of Verlain's own name). This collection constructs the image of the poète maudit as a visionary genius, doomed to alienation and suffering due to their exceptional artistic vision [4].

 

3. Result and Discussion

Results and discussion can be made as a whole that contains research findings and explanations.

Presenting the Results

Intertextuality, introduced by literary theorist Julia Kristeva, builds upon Mikhail Bakhtin's concept of dialogism, which posits that texts exist within a dynamic interplay of voices and perspectives. It explores the relationships between texts and how they influence, reference, and reshape one another, asserting that no literary work exists in isolation; rather, each text comprises diverse influences, quotations, and allusions from other works. This interplay enriches literary meaning by situating texts within broader cultural and historical contexts, enabling readers to draw connections across various traditions and enhancing their engagement with themes, characters, and narratives.

As literary analysis transitioned from structuralism to post-structuralism, it moved away from objective interpretations toward an embrace of subjectivity. Kristeva emphasizes the interconnectedness of texts, arguing that they are compilations that assimilate and transform prior works, thereby reaffirming intersubjectivity [5]. In “Le texte clos” she suggests that authors do not create original works but instead reorganize existing materials, describing a text as `a permutation of texts' where multiple utterances intersect and neutralize one another [5] Roland Barthes further develops these ideas by declaring The Death of the Author shifting the focus to the reader's role in meaning-making [6]. He distinguishes between `lisible' (readable) and `scriptible' (writable) texts, highlighting the fluidity of meaning in modern literature. Additionally, Michael Riffaterre's concept of hypogram describes how all texts derive from pre-existing units of meaning, underscoring the interconnected nature of texts.

Intertextuality thus reflects ongoing socio-cultural processes, suggesting that meaning arises both from the reader's interpretation and societal influences. It lacks singular meanings and is conceptualized by Kristeva as transposition, requiring the reconfiguration of ethical positions [7]. This dynamic nature of intertextuality allows for new expressions and indicates that all signifying practices are inherently plural, fragmented, and open to multiple interpretations (Kristeva, 1969: 60). Kristeva argues that texts reflect societal conflicts over meanings and are interconnected with cultural and social processes.

Overall, intertextuality underscores that literature is a dynamic network of evolving cultural, sociological, and political factors. In contemporary contexts, it facilitates transcultural literacy by fostering dialogue among diverse texts across cultural boundaries, enhancing readers' understanding of global issues. Moreover, intertextuality can serves as a vital instrument for soft power diplomacy, promoting cultural exchange and mutual respect among nations, also highlighting its significance in global education and our interconnected world.

Shared Themes Across Cultures

“Le Cygne” is a poem composed of two parts, featuring thirteen quatrains in Alexandrine meter with cross rhymes (ABAB), dedicated by Baudelaire to Victor Hugo during his exile[8]. Written in 19th-century Paris amid significant transformations, the poem reflects the profound changes brought about by Haussmann's renovation, commissioned by Napoleon III, which sought to modernize the city through wide boulevards, new parks, and improved sewage systems [9]. While these developments enhanced urban infrastructure and hygiene, they also resulted in the displacement of many residents and the destruction of historic neighborhoods. Observing these changes, Baudelaire expresses his ambivalence and melancholy in “Tableaux Parisiens” section of Les Fleurs du Mal.

Rimbaud's poem “Métropolitain” from Illuminations vividly depicts the disruptive impacts of modernization on both urban and rural landscapes, emphasizing the environmental degradation and social inequalities exacerbated by industrialization. Composed between 1873 and 1875, the poem emerged during the `Great Depression', one of the most significant economic crises of the 19th century. This global downturn, triggered by a stock market collapse, plunged the world economy into a prolonged period of economic stagnation.

Wing Kardjo's poem “Pasar” critiques the spread of industrialization and commercialization, where development becomes an overwhelming force that commodifies all aspects of life. In this context, Kardjo captures the emotional dislocation experienced by individuals and communities during the rapid urban development of Indonesia's New Order era under President Suharto.

Through intertextual analysis using Kristeva's framework and comparative studies, found that Kardjo's poem and French poets share the same themes of modernization and its impacts. The findings demonstrate that Kardjo's “Pasar” not only resonances Baudelaire's and Rimbaud's poems but also recontextualizes it within the Indonesian socio-cultural landscape in New Order Era. The analysis reveals three primary intertextual themes shared with both Baudelaire's and Rimbaud's poems: (1) urban transformation, (2) critique of modernization, and (3) nostalgia and melancholy for the past. The themes like (1) loss and displacement, and (2) alienation are drawn from Baudelaire's work; while the theme of industrialization echoes Rimbaud's poetry. This intertextual study in a transcultural context not only enhances the understanding of modernity in Kardjo's work but also demonstrates the French influences that shaped Indonesian poetry.

Transposing the Myth of Cursed Poet in Diverse Historical and Geographical Settings

The myth of the cursed poet, or poète maudit, has evolved throughout French literary history, from the Middle Ages to the 19th century. Some studies examine this mythological phenomenon, tracing its origins and development. The myth is explored between 1772 and 1884, highlighting its emergence after the French Revolution of 1830 when poets distanced themselves from bourgeois society and sought to separate literature from politics. The focus then shifts to the representation of poets during the French Restoration (1814-1830), portraying them as melancholic and suffering intellectuals [10].

The French Symbolist movement, emerging in the late 19th century, aimed to transcend the material world through symbols, ambiguity, and evocative language. Central to this was the poète maudit, whose artistic brilliance came with social isolation and internal suffering. Baudelaire's Les Fleurs du Mal (1857) epitomizes this figure, with Baudelaire himself embodying the tortured artist, linking vice, melancholy, and artistic greatness. Similarly, Mallarmé, Verlaine, and Rimbaud personified this myth, with Mallarmé's idealism, Verlaine's self-destruction, and Rimbaud's rejection of bourgeois values cementing their status as outcasts living on the fringes of society.

Myths are narratives that deform cultural objects and values, connecting them to broader ideological constructs [11]. This myth later influenced global literary movements, including Indonesian literature, where it was reinterpreted to reflect local struggles amid modernization and socio-political upheavals. Intertextuality reveals how this Western myth transcended its French origins, adapting across time and cultures. During Suharto's regime, Wing Kardjo's poem “Le Poète Maudit” recontextualizes the myth to address local socio-political concerns, illustrating its adaptability.

Suharto's authoritarian rule, marked by censorship and cultural nationalism, imposed political alienation on artists. Unlike Baudelaire, Rimbaud, Verlaine, and Mallarmé, whose alienation stemmed from rejecting bourgeois values, Kardjo's reflects enforced isolation under political oppression, transforming the cursed poet into a broader symbol of societal discontent. It demonstrates the fluidity of literary myths, showing how they adapt across cultures and time, underscoring the enduring relevance of the poète maudit archetype in diverse historical and geographical contexts.

Global Education and Soft Power Diplomacy

Kardjo's integration of French literary influences functions as a powerful form of soft power diplomacy, bridging the cultural divide between France and Indonesia and fostering transcultural literacy. By drawing on themes such as the poète maudit myth and existential concerns, his poetry encourages readers from diverse cultural backgrounds to engage with universal human experiences like societal challenges and personal aspirations. This intertextual approach not only enhances Kardjo's literary work but also positions it as a tool for promoting cross-cultural understanding.

By navigating complex emotional and social landscapes that transcend national boundaries, Kardjo's poetry becomes a bridge between cultures, facilitating mutual respect and appreciation. His engagement with both French and Indonesian literary traditions also underscores the role of literature in global education, demonstrating how it can foster intercultural dialogue and broaden perspectives on global narratives. Ultimately, Kardjo's work demonstrates how literature can address complex social issues and improve transcultural competence, making it an essential resource for understanding interconnected global contexts.

 

4. Conclusion

This study highlights Wing Kardjo's poetry as a key example of intertextuality functioning as soft power diplomacy, connecting French and Indonesian literary traditions while exploring universal themes. By adapting French influences, Kardjo fosters transcultural literacy, encouraging readers from diverse backgrounds to engage with shared human experiences. The analysis emphasizes the importance of incorporating transcultural literacy into global education to strengthen global interconnectedness and promote international cooperation. It also calls for further research into literature that bridges Western and non-Western traditions, exploring how intertextual relationships contribute to soft power diplomacy.

Acknowledgements

This research was funded by the Directorate of Research, Technology, and Community Service (DRTPM) in 2024, and we gratefully acknowledge their support. Our sincere thanks also go to the reviewers, proofreaders, and research support team for ensuring the smooth progress of this study.