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Margaret Atwood's novels are photographs of her characters' lives: while words only ever describe her protagonists’ blurred visions of their pasts, their 'true' stories are told in subtexts which run parallel or even contrary to the main story line and which depict the unseen, the buried, the 'untrue'. Replete with intertextual references, her fiction illuminates that and why "[w]hat isn’t there has a presence, like the absence of light" (The Blind Assassin). She plays with our conventional modes of perception to make us aware of the way we frame reality in our minds. Andrea Strolz discusses in her book the interrelation between metafictional and intertextual features in two of Atwood's novels that share many similarities, even though written in different decades. She examines how Atwood weaves intertextual references into her fiction, how she facilitates a reader's recognition of the intertexts, and she shows that Atwood's narrator-protagonists also reflect on our age as one of intertextuality.
This collection consists of eight essays that examine the way narratives determine our understanding of old age and condition how the experience is lived. Contributors to this volume have based their analysis on the concept of »narrative identity« developed by Paul Ricoeur, built upon the idea that fiction makes life, and on his definition of »trace« as the mark of time. By investigating the traces of aging imprinted in a series of literary and filmic works they dismantle the narrative of old age as decline and foreclosure to assemble one of transformation and growth.
It is gradually being acknowledged that the Arabic story-collection Thousand and One Nights has had a major influence on European and world literature. This study analyses the influence of Thousand and One Nights, as an intertextual model, on 20th-century prose from all over the world. Works of approximately forty authors are examined: those who were crucial to the development of the main currents in 20th-century fiction, such as modernism, magical realism and post-modernism. The book contains six thematic sections divided into chapters discussing two or three authors/works, each from a narratological perspective and supplemented by references to the cultural and literary context. It is shown how Thousand and One Nights became deeply rooted in modern world literature especially in phases of renewal and experiment.
本书通过对自我的剖析，揭示了阿特伍德关于人的民族性、政治性、社会性和生物性深层的思索，阐发这种人文和社会关怀对文学写作的重要意义。书中主要围绕加拿大多元文化主义思想、自我与他者的精神分析以及人与动物的边界做出了超前的探索。
Margaret Atwood's novels are photographs of her characters' lives: while words only ever describe her protagonists' blurred visions of their pasts, their 'true' stories are told in subtexts which run parallel or even contrary to the main story line and which depict the unseen, the buried, the 'untrue'. Replete with intertextual references, her fiction illuminates that and why "[w]hat isn't there has a presence, like the absence of light" (The Blind Assassin). She plays with our conventional modes of perception to make us aware of the way we frame reality in our minds. Andrea Strolz discusses in her book the interrelation between metafictional and intertextual features in two of Atwood's novels that share many similarities, even though written in different decades. She examines how Atwood weaves intertextual references into her fiction, how she facilitates a reader's recognition of the intertexts, and she shows that Atwood's narrator-protagonists also reflect on our age as one of intertextuality.
This accessible and unusually wide-ranging book is essential reading for anyone interested in postcolonial and African American women's writing. It provides a valuable gender and culture inflected critical introduction to well established women writers: Toni Morrison, Alice Walker, Margaret Atwood, Suniti Namjoshi, Bessie Head, and others from the U.S.A., India, Africa, Britain, Australia, New Zealand and introduces emergent writers from South East Asia, Cyprus and Oceania. Engaging with and clarifying contested critical areas of feminism and the postcolonial; exploring historical background and cultural context, economic, political, and psychoanalytic influences on gendered experience, it provides a cohesive discussion of key issues such as cultural and gendered identity, motherhood, mothertongue, language, relationships, women's economic constraints and sexual politics.
This book represents the state of the art in cognitive stylistics a rapidly expanding field at the interface between linguistics, literary studies and cognitive science. The twelve chapters combine linguistic analysis with insights from cognitive psychology and cognitive linguistics in order to arrive at innovative accounts of a range of literary and textual phenomena. The chapters cover a variety of literary texts, periods, and genres, including poetry, fictional and non-fictional narratives, and plays. Some of the chapters provide new approaches to phenomena that have a long tradition in literary and linguistic studies (such as humour, characterisation, figurative language, and metre), others focus on phenomena that have not yet received adequate attention (such as split-selves phenomena, mind style, and spatial language). This book is relevant to students and scholars in a wide range of areas within linguistics, literary studies and cognitive science.
The first collection of nonfiction work by the author in more than two decades features fifty-seven essays and reviews on a wide range of topics, including John Updike, Toni Morrison, grunge, September 11th, and Gabriel Garca Mrquez, among others. Reprint.
This text combines Boehmer's keynote essays on the mother figure and the postcolonial nation, with incisive new work on male autobiography, 'daughter' writers, the colonial body, the trauma of the post-colony, and the nation in a transnational context.