Her portrayal of the incest taboo is examined here in relation to incest as an abusive practice, which is the predominant image of the subject throughout her fiction. Incest was brought to the public forum partly by the second wave of feminism and the revelation of incest abuse coincided with the public recognition of child abuse more generally and thereby occasioned concern over the rights of children.
Accordingly, therefore, this thesis focuses on the impact of a history of patriarchal domination on the suppression of women and children, and how this has affected the ability for incest victims to find a means of expression within a language, and therefore a literary culture, defined and designed by others.
Murdoch is approached here through her concern with gendered stories and gendered means of communication, not in order to privilege one sex over the other but, anticipating third-wave feminism, employing them as a means to dispense with sexual difference and sexual expectations, in order to reach an androgynous narrative. Such literary concerns can be seen to draw not only from a process of the cultural evolution of narratives, but also out of the wider literary sphere, to affect social change.
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Intertextuality and Allusion
Since Julia Kristeva's coinage of the term intertextuality in the late s, theorists of the arts literature, music, painting, architecture, etc. Consequently, dynamic aspects of intertextuality that result from correlation between diverse forms of intertextuality have rarely been fully considered, though they play crucial roles in the history of iii twentieth-century arts. This dissertation suggests the need to view intertextuality in its multiplicity and dynamism, by disclosing and interpreting a variety of intertextual practices and their important historical developments in the case of prog-rock keyboardist Keith Emerson's "crossover" music.
Six new models of intertextuality are introduced and explored in detail as Emerson's important intertextual styles.
Testimony, Memory, and Intertextual References: Shakespeare's Presence in the Works of Primo Levi
These models are termed: background intertextuality, dialectic intertextuality, revisionary intertextuality, subtle intertextuality, multi-ply intertextuality, and framed intertextuality. These are distinct from the Bakhtinian "dialogic" model of intertextuality, but play crucial roles in the stylistic development of the musician.
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- Intertextuality and mimesis in 'Jude the Obscure' by Thomas Hardy;
This study thus proposes and models a range of pragmatic ways to expand the scope of intertextual analysis, and transcend the limits of certain intertextuality theories in music, as well as in the arts in general. Parents: This work has no parents. Tweet Share.
Master's Papers Deposit your masters paper, project or other capstone work. Scholarly Articles and Book Chapters Deposit a peer-reviewed article or book chapter.
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Undergraduate Honors Theses Deposit your senior honors thesis. There are basically two "schools" of intertextuality: The first is the more practical and traditional one which delimits itself to the study of the relationship between a text and its pre-text s. According to this view, the intertextual relationship becomes interesting only when the connection can be clearly verified and pointed out in the text, and this textual relationship usually takes the form of an allusion, quotation, annexation, etc.
The dialogic interplay between a text and its pre-text may understandably create problems for interpretation, but then again this narrower view of intertextuality provides a sound, practical method of analysing these questions. The second view is the more theoretical one, associated with poststructuralism and theorists such as Julia Kristeva, Roland Barthes and Jacques Derrida.
Ukko Hänninen: Rewriting Literary History: Peter Ackroyd and Intertextuality
It posits the wider view of intertextuality which says that all texts are intertexts. Intertextuality is the basis and requirement of all communication, and all communicable texts and discourses are always built upon existing cultural codes and norms. Texts are seen as 'mosaics of citations' or 'echo chambers', wherein the question of origin loses its importance. Textuality itself controls discourses more than subjects themselves cf. Plett, In this paper I am using both views: the first is applied to my practical textual analysis of Peter Ackroyd's intertextuality - how he uses other texts as the basis of his novels.
The second is used in the more theoretical discussions about Ackroyd's art and is related to my argument about the kinds of views and purposes that can be found behind Ackroyd's use of intertextuality.
The question of postmodernism is not fixed either, and there are many notions about it. The theories of postmodernism encompass a whole range of different fields, including philosophy, sociology, art history, architecture, literature and criticism, and every theorist seems to have his or her own conceptions and emphases about the term cf. Selden, Thus, instead of trying to limit my approach to one particular view, I accept the plurality of the concept and use the term 'postmodern' whenever a theorist calls a specific feature by that name.
One of the best surveys of postmodern tendencies is given by Ihab Hassan in Romanticism, Modernism, Postmodernism , ed. Garvin, H.
Related thesis on intertextuality
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