To Kill a Text: The Dialogic Fiction of Hugo, Dickens, and ZolaUniversity 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. |
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... novelistic dis- course and ultimately more complex . The precursor's text is not " killed " at all , so to speak . The dead always return to ( Continued on back flap ) To Kill a Text The Dialogic Fiction of Hugo , To Kill a Text.
... novelistic dis- course and ultimately more complex . The precursor's text is not " killed " at all , so to speak . The dead always return to ( Continued on back flap ) To Kill a Text The Dialogic Fiction of Hugo , To Kill a Text.
Strona 14
... complex , and relatively conservative process that grows and ramifies not only throughout an entire century but also across national borderlines . Following the intertextual path that goes from novel to novel requires a lot of space ...
... complex , and relatively conservative process that grows and ramifies not only throughout an entire century but also across national borderlines . Following the intertextual path that goes from novel to novel requires a lot of space ...
Strona 18
... complex nineteenth - cen- tury novels tend , in Peter Garrett's words , " to demonstrate the unity of multiple narratives by monocentric reconstruction . " 16 Barbara Hardy de- fines the formalist critic's task as essentially ...
... complex nineteenth - cen- tury novels tend , in Peter Garrett's words , " to demonstrate the unity of multiple narratives by monocentric reconstruction . " 16 Barbara Hardy de- fines the formalist critic's task as essentially ...
Strona 20
... complex , ambiguous , and heterogeneous nature of discourse and of human existence . Briefly put , Bakhtin defines the novel as an " artistic genre " that does not have a place in ( formalist ) Aristotelian poetics ( 269 ) , a genre ...
... complex , ambiguous , and heterogeneous nature of discourse and of human existence . Briefly put , Bakhtin defines the novel as an " artistic genre " that does not have a place in ( formalist ) Aristotelian poetics ( 269 ) , a genre ...
Strona 25
... complex . In his views , he is somewhere between the Formalists and Bakhtin . For him , " the burden of the past " lies in the authority of strong role models , engen- dering feelings of awe and " anxiety . " Originality and change ...
... complex . In his views , he is somewhere between the Formalists and Bakhtin . For him , " the burden of the past " lies in the authority of strong role models , engen- dering feelings of awe and " anxiety . " Originality and change ...
Spis treści
13 | |
Bakhtins Dialogue with Hugo | 33 |
NotreDame de Paris The Hybrid Novel | 47 |
Formal Incongruity in Dickenss Bleak House | 85 |
Fiction Fair or Fiction Foul? Bleak House and NotreDame de Paris | 138 |
Ceci tuera cela The Cathedral in the Marketplace | 176 |
Pregnant Death Germinal and the Triumph of the Hybrid Novel | 192 |
Notes | 224 |
Works Cited | 245 |
253 | |
Inne wydania - Wyświetl wszystko
To Kill a Text: The Dialogic Fiction of Hugo, Dickens, and Zola Ilinca Zarifopol-Johnston Widok fragmentu - 1995 |
Kluczowe wyrazy i wyrażenia
aesthetic Ainsworth ambiguous architecture artistic authorial discourse becomes belly Bleak House bourgeois carnival Caryl Emerson Catherine Chancery chapter characters Charles Dickens Chesney Wold church Claude Frollo Claude's coexistence concept critics Dickens's dramatic Emile Zola epic Esmeralda Esther Etienne Etienne's Florent free indirect speech genre Germinal Gothic graft Gringoire's grotesque realism Halles heteroglossia Hillis Miller Hugo's Notre-Dame Ibid interpretation intertextual italics added Jarndyce Lady Dedlock language literary history literature meaning metaphor Michael Holquist Mikhail Bakhtin miners mirror Morson and Emerson narrative Notre-Dame de Paris novelistic original parody past Pierre Gringoire plot poetics Préface de Cromwell pregnant death present Quasimodo Rabelais reading relation relationship represented rewriting rhetoric romantic romantic realism Saint-Eustache scene Scott Seebacher speech story structure style stylistic symbol theme theory tion Tower of Babel trace tradition tuera Tulkinghorn Ventre de Paris Victor Hugo voice writing Zola Zola's
Popularne fragmenty
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.
Strona 17 - ... an artistically organized system for bringing different languages in contact with one another, a system having as its goal the illumination of one language by means of another, the carving-out of a living image of another language.