Refracting the Canon in Contemporary British Literature and Film

Přední strana obálky
Susana Onega, Susana Onega Jaén, Christian Gutleben
Rodopi, 2004 - Počet stran: 261
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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Vybrané stránky

Obsah

Introduction 715
7
Creative Bastardy in Sternes 1752
17
Rewriting the Canon in Contemporary 5368
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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Oblíbené pasáže

Strana 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.
Strana 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.
Strana 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.
Strana 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...
Strana 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?
Strana 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.
Strana 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.
Strana 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...
Strana 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.
Strana 35 - Tristram declares that he will confine himself "neither to [Horace's] rules, nor to any man's rules that ever lived

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