To Kill a Text: The Dialogic Fiction of Hugo, Dickens, and Zola
University of Delaware Press, 1995 - 260
In a unique demonstration of the critical possibilities of Mikhail Bakhtin's concept of dialogism, To Kill a Text: The Dialogic Fiction of Hugo, Dickens, and Zola analyzes the intertextual conflicts between four monuments of nineteenth-century fiction: Victor Hugo's Notre-Dame de Paris, Charles Dicken's Bleak House, and Emile Zola's Le Ventre de Paris and Germinal. The book's fundamental hypothesis is that Dickens and Zola exemplify Hugo's conception of the novel - and of literary history - as a "graft" of one work upon another, producing hybrid mixtures of genres and styles of representation. For Hugo, a new work always "kills" its predecessor while at the same time preserving its memory. Thus writing becomes inlaid with writing; the text, a palimpsest. Ilinca Zarifopol-Johnston's book traces the covert manifestations of Hugo's romantic notion of the novel through later French and English realism, arguing that the anachronistic traces of past literary periods are always at work defining the aims of the present, no matter how radical a new departure it seems or tries to be.
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Bakhtins Dialogue with Hugo
NotreDame de Paris The Hybrid Novel
Formal Incongruity in Dickenss Bleak House
Fiction Fair or Fiction Foul? Bleak House and NotreDame de Paris
Ceci tuera cela The Cathedral in the Marketplace
Inne wydania - Wyświetl wszystko
ambiguous architecture artistic Babel Bakhtin becomes beginning Bleak House building calls carnival cathedral chapter characters church Claude complex concept connection continuity critics dead death Dedlock dialogic Dickens Dickens's discourse epic Esther Etienne example existence expression face fact familiar figure final genre Germinal gives Gothic graft grotesque Halles hand Hugo Hugo's human hybrid imagination important influence interpretation kind Lady language literary literature living London looks meaning metaphor miners mirror narration narrative nature Notre-Dame de Paris novel opposition original past play plot present Press reading realism reality reflected relation relationship represented rewriting romantic scene seems sense similar social speech story structure style symbol takes theme theory things thought tion Tower trace tradition tuera University Ventre de Paris Victor Hugo voice writing Zola Zola's
Strona 21 - Genre is reborn and renewed at every new stage in the development of literature and in every individual work of a given genre. This constitutes the life of the genre. [...] A genre lives in the present, but always remembers its past, its beginning. Genre is a representative of creative memory in the process of literary development.
Strona 20 - Unitary language constitutes the theoretical expression of the historical processes of linguistic unification and centralization, an expression of the centripetal forces of language. A unitary language is not something given [dan] but is always in essence posited [zadan] — and at every moment of its linguistic life it is opposed to the realities of heteroglossia.