Refracting the Canon in Contemporary British Literature and FilmSusana Onega Jaén, Christian Gutleben Rodopi, 2004 - 261 Seiten Contemporary works of art that remodel the canon not only create complex, hybrid and plural products but also alter our perceptions and understanding of their source texts. This is the dual process, referred to in this volume as "refraction", that the essays collected here set out to discuss and analyse by focusing on the dialectic rapport between postmodernism and the canon. What is sought in many of the essays is a redefinition of postmodernist art and a re-examination of the canon in the light of contemporary epistemology. Given this dual process, this volume will be of value both to everyone interested in contemporary art--particularly fiction, drama and film--and also to readers whose aim it is to promote a better appreciation of canonical British literature. |
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Seite 19
... passage which takes Sterne's novel as an example . Margaret Anne Doody does mention the fact that Tristram's origin is " deducibly false " , and that " we may believe that Mrs Shandy was already pregnant ( by Yorick ) during that ...
... passage which takes Sterne's novel as an example . Margaret Anne Doody does mention the fact that Tristram's origin is " deducibly false " , and that " we may believe that Mrs Shandy was already pregnant ( by Yorick ) during that ...
Seite 20
... passage hauntingly echoes the opening paragraph of the novel " He was born in Old Delhi [ ... ] once upon a time " etc. ( 419 ) — . In Tristram Shandy the clock / cock pun also encouraged the book's first readers to discover bawdy ...
... passage hauntingly echoes the opening paragraph of the novel " He was born in Old Delhi [ ... ] once upon a time " etc. ( 419 ) — . In Tristram Shandy the clock / cock pun also encouraged the book's first readers to discover bawdy ...
Seite 22
... passage since the " sciatica " motif recurs here , in relation with the coach : No my dear brother Toby , said my father , changing his tone — but the damp of the coach - lining about my loins — may give me the sciatica again , as it ...
... passage since the " sciatica " motif recurs here , in relation with the coach : No my dear brother Toby , said my father , changing his tone — but the damp of the coach - lining about my loins — may give me the sciatica again , as it ...
Seite 23
... passage to illustrate Mrs Shandy's " maddening agreeableness " ( Faurot 1970 : 581 ) , and she comments on Mrs Shandy's " skill in the art of frustration " . Indeed , the fact that Mrs Shandy agrees to all her husband's opening ...
... passage to illustrate Mrs Shandy's " maddening agreeableness " ( Faurot 1970 : 581 ) , and she comments on Mrs Shandy's " skill in the art of frustration " . Indeed , the fact that Mrs Shandy agrees to all her husband's opening ...
Seite 34
... passage has all the characteristics of what Genette calls a " mock - heroic pastiche " ( 1982 : 29-30 ) : the noble style of the hypotext is applied to a trivial , vulgar subject , from which the original tragic situation has been ...
... passage has all the characteristics of what Genette calls a " mock - heroic pastiche " ( 1982 : 29-30 ) : the noble style of the hypotext is applied to a trivial , vulgar subject , from which the original tragic situation has been ...
Inhalt
7 | |
17 | |
53 | |
Genre and Islam in Recent Anglophone Romantic Fiction 6982 | 69 |
Fight Club as a Refraction of 8394 | 83 |
Film Heroines of the Nineties 95110 | 95 |
Dickens and PostVictorian Fiction 111128 | 111 |
Charles Pallisers 129148 | 129 |
Refracting the Past in Praise of the Dead Poets in 149164 | 149 |
Jeanette Winterson and the Ethics of 165185 | 165 |
Caryl Phillips Subversive 187205 | 187 |
Strategies of Writing Back in 207229 | 207 |
To Hamlet and back with Humble Boy by Charlotte 231245 | 231 |
Notes on Contributors 247250 | 247 |
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Häufige Begriffe und Wortgruppen
A. S. Byatt Aboulela Ackroyd African Alasdair Gray Austen bastard Bleak House Book British Cambridge canonical romance canonical text Caryl Phillips century characters Charlotte Jones Clueless comedy contemporary Scottish critics cultural Dickens Dickensian echoes Emma essays example Faber female feminist fiction Fight Club film Fire of London Frankenstein Gil-Martin Gray's Hamlet Higher Ground Hogg Hogg's Humble Boy hypotext identity intertextual Islam Jane Jekyll and Hyde Justified Sinner Leila Aboulela literary Little Dorrit metaphor Midnight's Children modern mother Muslim narrative narrator Nature of Blood Ophelia original Othello Oxford Palliser parody Penguin play post-colonial Post-Victorian postmodern PowerBook present protagonist Quincunx reader reading References refraction representation rewriting Rushdie Rushdie's Saleem Sammar scene Scottish literature sense sexual Shakespeare Shandy's Sterne Sterne's story theory things tradition Tristram Shandy Tyler University Press Venetian Venice Victorian novel Walter Winterson's woman women words writing Yorick York Zadie Smith
Beliebte Passagen
Seite 202 - Nay, take my life and all ; pardon not that : You take my house, when you do take the prop That doth sustain my house ; you take my life, When you do take the means whereby I live.
Seite 225 - We have only to understand the mirror stage as an identification, in the full sense that analysis gives to the term: namely, the transformation that takes place in the subject when he assumes an image - whose predestination to this phase-effect is sufficiently indicated by the use, in analytic theory, of the ancient term imago.
Seite 222 - Tarry a little ; there is something else. This bond doth give thee here no jot of blood ; The words expressly are ' a pound of flesh : ' Take then thy bond, take thou thy pound of flesh ; But, in the cutting it, if thou dost shed One drop of Christian blood, thy lands and goods Are, by the laws of Venice, confiscate Unto the state of Venice.
Seite 25 - Sir — for in good truth, when a man is telling a story in the strange way I do mine, he is obliged continually to be going backwards and forwards to keep all tight together in the reader's fancy...
Seite 194 - Where should Othello go? — Now, how dost thou look now ? O ill-starr'd wench ! Pale as thy smock ! when we shall meet at compt, This look of thine will hurl my soul from heaven, And fiends will snatch at it. Cold, cold, my girl?
Seite 155 - Poetry is not a turning loose of emotion, but an escape from emotion; it is not the expression of personality, but an escape from personality. But, of course, only those who have personality and emotions know what it means to want to escape from these things.
Seite 120 - WHETHER I shall turn out to be the hero of my own life, or whether that station will be held by anybody else, these pages must show.
Seite 29 - ... there's no place like home', but rather that there is no longer any such place as home: except, of course, for the home we make, or the homes that are made for us, in Oz: which is anywhere, and everywhere, except...
Seite 8 - As a structural analysis of texts in relation to the larger system of signifying practices or uses of signs in culture, intertextuality seems by definition to deliver us from old controversies over the psychology of individual authors and readers, the tracing of literary origins, and the relative value of imitation or originality.
Seite 35 - Tristram declares that he will confine himself "neither to [Horace's] rules, nor to any man's rules that ever lived