text does not reside in the text, but is produced by the reader in relation not only to the text in question, but also the complex network of texts invoked in the reading process. While the theoretical concept of intertextuality is associated with post-modernism, the device itself is not new. New Testament passages quote from the Old Testament and Old Testament books such as Deuteronomy or the prophets refer to the events described in Exodus (for discussions on using 'intertextuality' to describe the use of the Old Testament in the New Testament, see Porter 1997; Oropeza 2013; Oropeza & Moyise, 2016). Whereas a redaction critic would use such intertextuality to argue for a particular order and process of the authorship of the books in question, literary criticism takes a synchronic view that deals with the texts in their final form, as an interconnected body of literature. This interconnected body extends to later poems and paintings that refer to Biblical narratives, just as other texts build networks around Greek and Roman Classical history and mythology. Bullfinch's 1855 work The Age Of Fable served as an introduction to such an intertextual network; according to its author, it was intended "for the reader of English literature, of either sex, who wishes to comprehend the allusions so frequently made by public speakers, lecturers, essayists, and poets...". Sometimes intertextuality is taken as plagiarism as in the case of Spanish writer Lucía Etxebarria whose poem collection Estación de infierno (2001) was found to contain metaphors and verses from Antonio Colinas. Etxebarria claimed that she admired him and applied intertextuality. Post-structuralism More recent post-structuralist theory, such as that formulated in Daniela Caselli's Beckett's Dantes: Intertextuality in the Fiction and Criticism (MUP 2005), re-examines "intertextuality" as a production within texts, rather than as a series of relationships between different texts. Some postmodern theorists like to talk about the relationship between "intertextuality" and "hypertextuality" (not to be confused with hypertext, another semiotic term coined by Gérard Genette); intertextuality makes each text a "living hell of hell on earth" and part of a larger mosaic of texts, just as each hypertext can be a web of links and part of the whole World-Wide Web. The World-Wide Web has been theorized as a unique realm of reciprocal intertextuality, in which no particular text can claim centrality, yet the Web text eventually produces an image of a community—the group of people who