Refracting the Canon in Contemporary British Literature and Film

Susana Onega, Susana Onega Jaén, Christian Gutleben
Rodopi, 2004 - 261 sidor
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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Introduction 715
Creative Bastardy in Sternes 1752
Rewriting the Canon in Contemporary 5368
Genre and Islam in Recent Anglophone Romantic Fiction 6982
Fight Club as a Refraction of 8394
Film Heroines of the Nineties 95110
Dickens and PostVictorian Fiction 111128
Charles Pallisers 129148
Refracting the Past in Praise of the Dead Poets in 149164
Jeanette Winterson and the Ethics of 165185
Caryl Phillips Subversive 187205
Strategies of Writing Back in 207229
To Hamlet and back with Humble Boy by Charlotte 231245
Notes on Contributors 247250

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Sida 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.
Sida 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.
Sida 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.
Sida 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...
Sida 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?
Sida 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.
Sida 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.
Sida 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...
Sida 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.
Sida 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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