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Seminar paper from the year 2013 in the subject English Language and Literature Studies - Literature, grade: 2,7, LMU Munich, language: English, abstract: This term paper aims to show how the integrated intertextuality has an essential impact on the novel's reception and meaning. It discusses how Barnes intertwined intertextual references into his novel and how these influence its interpretation. On this occasion the term Intertextuality, its development, and the theory it designates will be defined before its usage for literary studies will be discussed. Furthermore, the distinction of the theory will justify the application of mainly Ulrich Broich's and Manfred Pfister's perimeter of intertextuality. Thereafter the analysis of the intertextuality between Flaubert's Parrot and Madame Bovary will be examined in detail while the current studies on the topic are included and compared in the investigation. This is done primarily by means of secondary literature like monographs and essays from literary scholars as well as by interviews with Julian Barnes. The paper concludes with verifying the findings according to Broich and Pfister and estimates its exceptional quality. Presupposed is the knowledge of the novels Flaubert's Parrot and Madame Bovary as well as Julian Barnes's and Gustave Flaubert's basic vita.
Bachelor Thesis from the year 2013 in the subject English Language and Literature Studies - Literature, grade: 2,7, LMU Munich, language: English, abstract: The English writer Julian Barnes has developed an experimental style during his writing career, which spans twenty-two novels as well as numerous essays and short stories. His novel Flaubert's Parrot, which was his third published book in 1984, marked an important milestone in his career and shaped his image as an outstandingly talented writer who is fearless of unconventional writing. In the year 2005 Julian Barnes wrote an article in honor of the twentieth anniversary of the book called "When Flaubert took wing" for the Guardian. In that article he described how the idea for the novel came to his mind when he experienced finding two different parrots in Flaubert's hometown, which both claimed to be the original parrot Flaubert worked with. The result was the Booker Prize short-listed novel Flaubert's Parrot. In the novel he merges a postmodern style within a biographical story that is profoundly thought provoking. Neil Brooks described the novel in his comparison to The Good Soldier as "part novel and part criticism of both modern and postmodern theories of textuality". Meanwhile, Barnes presents his impressively extensive research on Gustave Flaubert and incorporates his knowledge into the text in a very entertaining way. Due to its experimental style and unconventional structure the book caused a controversial debate whether or not it is still accurate to call it a 'novel'. The extensive sections that do not follow a coherent storyline and the excursions on literary critical topics complicated the book's classification and categorization into a specific genre. However, Barnes himself claimed that he considers his work as nothing else than a novel. Therefore and due to the fact that different publishers decided to define it as novel as well, this thesis will refer to Flaubert's Parrot as novel, too. After all, literary studies deal with Flaubert's Parrot as a postmodern novel and it has often been categorized within the genre of fictional metabiography. Scholars focused often on the two stories the book offers. Namely, the one story is the search for Flaubert's parrot and the other one is about the main character's past. Both stories are connected through intertextual references that are an interesting issue for literary critics. In particular, the intertextual devices in the novel were often subject for literary studies that aimed to interpret its deeper meaning.
A kind of detective story, relating a cranky amateur scholar's search for the truth about Gustave Flaubert, and the obsession of this detective whose life seems to oddly mirror those of Flaubert's characters.
There's most definitely a relationship between literary realism and postmodernism. However, it is one that is far more difficult than previously researched. The goal of this BA thesis was to examine how literary realism was specifically represented by and in postmodernism. Looking at how the key characteristics of Flaubertian realism are represented in the way postmodernist literary works want to reach their goals. Julian Barnes's "Flaubert's Parrot" has been used as a case study for this exploration.
The bestselling, Booker Prize-winning author of The Sense of an Ending traces the life of a seemingly ordinary woman with an extraordinary disdain for wisdom in this “marvelous literary epiphany” (The New York Times Book Review). In this wonderfully provocative novel, Barnes follows Jean Serjeant from her childhood in the 1920s to her flight into the sun in the year 2021, confronting readers with the fruits of her relentless curiosity: pilgrimages to China and the Grand Canyon; a catalogue of 1940s sexual euphemisms; and a glimpse of technology in the twenty-first century (when The Absolute Truth can be universally accessed). Elegant, funny and intellectually subversive, Staring at the Sun is Julian Barnes at his most dazzlingly original.
Acclaimed by Italo Calvino as "one of the most extraordinary spirtual journeys ever accomplished outside any religion," Three Tales (1877) was the last of Flaubert's works published during his lifetime. The ambitious range of the stories -- "A Simple Heart," "The Legend of Saint Julian the Hospitaller," and "Herodias" -- reaches from the author's own century back to the Middle Ages and to ancient Israel. "A Simple Heart," in Flaubert's own words, "is just the account of an obscure life, that of Felicite a poor country girl, pious but mystical, quietly devoted, and as tender as fresh bread... I want to arouse people's pity, to make sensitive souls weep, since I am one myself." The middle story, "The Legend of Saint Julian the Hospitaller," tells of a bloodthirsty hunter and warrior whose attempts to escape a dire prophecy ultimately lead to a state of grace. "Herodias," the final tale, is based on the legends surrounding King Herod, Salome, and John the Baptist. It served as the inspiration for later interpretations, including Oscar Wilde's Salome and Jules Massenet's opera Herodiade. "To any modern writer, in whatever language," remarked Anthony Burgess of Three Tales, "these are recommended as a fundamental textbook of style." Book jacket.
The Perpetual Orgy is Mario Vargas Llosa's brilliant analysis of Gustav Flaubert's masterpiece Madame Bovary. In this remarkable book, "we not only enjoy a dazzling explication, but experience a master discoursing at the top of his form on the craft of the novel" (Robert Taylor, The Boston Globe). It is a tribute to The Perpetual Orgy that it sends the reader back to Flaubert's work with renewed interest.
From the bestselling, Booker Prize-winning author of A Sense of an Ending comes a comedy of sexual awakening in the 1960s that is “wonderfully fresh, crackling with nostalgic irreverence” (Vogue). Only the author of Flaubert's Parrot could give us a novel that is at once a note-perfect rendition of the angsts and attitudes of English adolescence, a giddy comedy of sexual awakening, and a portrait of the accommodations that some of us call "growing up" and others "selling out.
J.M. Coetzee's latest novel, The Schooldays of Jesus, is now available from Viking. Late Essays: 2006-2016 will be available January 2018. In the fall of 1869 Fyodor Mikhailovich Dostoevsky, lately a resident of Germany, is summoned back to St. Petersburg by the sudden death of his stepson, Pavel. Half crazed with grief, stricken by epileptic seizures, and erotically obsessed with his stepson's landlady, Dostoevsky is nevertheless intent on unraveling the enigma of Pavel's life. Was the boy a suicide or a murder victim? Did he love his stepfather or despise him? Was he a disciple of the revolutionary Nechaev, who even now is somewhere in St. Petersburg pursuing a dream of apocalyptic violence? As he follows his stepson's ghost—and becomes enmeshed in the same demonic conspiracies that claimed the boy—Dostoevsky emerges as a figure of unfathomable contradictions: naive and calculating, compassionate and cruel, pious and unspeakably perverse.
In a crucial shift within posthumanistic media studies, Bernhard Siegert dissolves the concept of media into a network of operations that reproduce, displace, process, and reflect the distinctions fundamental for a given culture. Cultural Techniques aims to forget our traditional understanding of media so as to redefine the concept through something more fundamental than the empiricist study of a medium’s individual or collective uses or of its cultural semantics or aesthetics. Rather, Siegert seeks to relocate media and culture on a level where the distinctions between object and performance, matter and form, human and nonhuman, sign and channel, the symbolic and the real are still in the process of becoming. The result is to turn ontology into a domain of all that is meant in German by the word Kultur. Cultural techniques comprise not only self-referential symbolic practices like reading, writing, counting, or image-making. The analysis of artifacts as cultural techniques emphasizes their ontological status as “in-betweens,” shifting from firstorder to second-order techniques, from the technical to the artistic, from object to sign, from the natural to the cultural, from the operational to the representational. Cultural Techniques ranges from seafaring, drafting, and eating to the production of the sign-signaldistinction in old and new media, to the reproduction of anthropological difference, to the study of trompe-l’oeils, grids, registers, and doors. Throughout, Siegert addresses fundamental questions of how ontological distinctions can be replaced by chains of operations that process those alleged ontological distinctions within the ontic. Grounding posthumanist theory both historically and technically, this book opens up a crucial dialogue between new German media theory and American postcybernetic discourses.