Eduard Vlad

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    'I-cnhoredactare

    computerizata:

    Copcrta:

    Petre

    Vlad

    CON:I'ENTS

    INTRODUCTION...........

    ......

    .........9

    -autl.rors,

    Authors,

    scriptors,

    rcaders

    -Identity

    as

    narativc-and-transaction

    involving writcrs

    and

    readers

    -Selfand

    subject,

    characier,

    rcader

    and writer

    -Authorirl

    idcntily.

    intcrtcrlualily.

    hybr

    idily

    Chapter I

    ...............

    ...

    ...................19

    A PORTRAIl'

    OT 1'I II]

    AT]TtIOR

    AS

    DIALOGIC

    ARTTS'I:

    DAVID

    LODGtI

    AND'Itttt

    N,tttTAMORPl

    IOSTIS

    OF

    CAMpiJS

    FIC'IION

    The

    Lodger,Braclbury

    rvr.itcrly

    lodge (or

    nichc)

    -A

    halbinger

    of

    things

    to

    colnc:

    77rc

    British

    i4useum

    is lta ing

    I)r.'y,rt

    -Al

    llt,:

    cr,rs.t,'trdi

    hgt\\'(.(

    lt

    r,.llis1,

    anrl

    nrctlficli.,

    -lironr

    either

    ...

    ot'... t()

    both...

    and...:

    Changing

    place.s

    lcxtu;rlitl

    J\ tn)llric

    lurrtinc(:

    Sttt,tll

    14orll

    -Widerrirrg

    the

    gyrc

    or

    narlou,ing

    ill

    Nice

    Work

    Chapte r

    2 ...................

    ... .

    .. ...

    .

    .

    .

    . ..

    .

    .5l

    MAI.,COLM

    BITAI)BUIIY

    ANI)

    1'ItE

    PO

    MO

    DISCUISES

    OF

    I,It]IJItAL

    HUMANISM

    -Florv

    lar

    did tsradbury

    go?

    -The

    dilenrrnas

    of

    Iibelal

    huntanisnr:

    Lating

    l)eople

    Is

    l,yrong

    -Marxism

    vs. liheial

    lrirnralisnr

    in

    The LIi.storv

    Mon

    -1ltr'pou.r

    ol

    uortl

    .

    arrd

    idcnl,rFi..,:

    R{//,.r

    o/

    l;s,.lt,rtry,.

    -I'laying

    rvith

    -l'hatchcr's

    hard

    lacts

    anrj

    Mcllale,s

    ,,ontoiogical

    uncerlainty":

    (irls

    -'I'lre

    LrLkacs

    of

    thc

    Nineties: Doc:tor

    Crintintlt:

    E

    I

    t

    5

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    fi

    5

    i

    l

    I ntroditction

    Bibliography

    Chapter

    8

    ..

    ..

    .

    .. .

    i|.lly:11

    ro

    rraounru

    iua

    os;ig,

    ij;

    ...............24s

    POSTSTRUCTUR

    AIISr

    r, i

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    M

    E-;cE,'rid

    ;;

    i,i,i?'-i[l;

    $liilji$I*R,

    oR,

    rHE

    -In^:

    I":rt

    au.rhor

    sraning

    as

    hn

    Macabre

    -A

    step

    towards

    a

    broadeiso"

    -lT:'

    g

    *"

    o*;j",,,,#.#,,".

    ?fi

    ; l

    ?ff

    "

    n

    t

    G

    a

    rde

    n

    -

    oi1,:,

    rlr,,

    world,.aduiriy

    observed,.:

    The

    tnnocent

    o?'r1r"r

    'ortt

    dealing

    with

    biography

    *i'ii,J

    ,r,ra"*,

    or

    ,h.

    -I\,fercy

    killer(s);

    A

    nts

    rcrdam

    -t-or

    the

    time

    being-

    Atonement

    coronat

    opus

    INTRODUCTION

    authors,

    Authors,

    scriptors,

    rcaders

    Authorship

    and

    ltlentity

    in Contemporary,

    _Firliori

    explores

    the

    work

    of

    eight

    Britisl.r

    novelists

    of what

    is

    commonly

    ialled

    the

    postmodem

    age,

    a

    period

    rvhose

    birth

    certificate

    might

    be

    seen

    to

    coincide

    with

    Roland

    Barthes,s

    proclamation

    uf

    ...

    ..tir"

    death

    .of the

    author"(1968).

    Regrctfully,

    two

    of

    the

    eight

    writers are

    no

    longer

    alive

    (Angela

    Carter

    and

    Malcolm

    Bradbury),

    but

    all

    eight

    olthem

    are

    still

    very

    powerful

    authors,

    ifnot

    Authors.

    The

    introductory

    section

    aims

    at

    sketching

    the

    conceptual

    framework

    in

    which

    two

    key

    terms

    _

    authJr

    and

    identity

    -

    are

    woven.

    It

    draws

    attention

    to

    some

    significant

    literary

    and

    cultural

    developments

    that

    have

    affected

    the

    way

    writing

    and

    reading

    as

    discursive

    practices

    have

    been

    performed^

    in

    what

    optimistic people

    will

    preler

    to

    call,

    avoiding

    funerary

    language,

    the

    Booker

    priie

    age

    (whose

    beginning

    -

    1969 -

    roughly

    coincides

    with

    the

    pubiicaiion

    of

    Barthes's

    above-mentioned

    essay).

    Belore

    the

    French

    anti-author

    came

    up with

    his

    influential

    1968

    essay,

    another

    polemical

    text

    haj

    chailenged

    the

    function

    of

    the

    author

    (.,Author,.),

    Wimsatt

    and

    Beardsley,s

    "The

    Intentional Fallacy"(1946).

    The

    tll.o

    cnrics

    dismissed

    ...............

    ..29s

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    David

    Lodge

    Chapter

    1

    A

    PORTRAIT

    OF

    I'HE

    AUT}IOR

    AS

    DIALOCIC

    ARTIST:

    DAVID LODGE

    AND

    THE

    METANIORPHOSES

    OF

    CAIIPUS

    FICTION

    The

    Lodge-Bradbury

    writerly

    lodge

    (or

    niche)

    It is cuslomary

    nowadays

    lor

    established

    novelists

    to teach

    creative writing

    in

    universities,

    a

    trend started

    after

    World

    War

    II

    in America.

    From

    1960

    until

    1987,

    David

    Lodge

    combined

    fiction

    writing

    with

    an academic

    career

    (lecturer

    in

    English in

    1960,

    then

    Professor

    of

    Modern

    English

    Literature

    at

    Birmingham

    University

    from

    1976)

    during which

    he

    taught

    literature

    and wrote

    literary

    criticism;

    he

    didn,t

    teach creative

    writing.

    He

    did

    have

    a way

    of

    teaching

    writing,

    though.

    His

    novels,

    like

    his

    criticism,

    explore

    the

    nature,

    mechanisms

    and

    conventions

    of

    fiction

    in

    challenging

    and entertaining

    ways.

    His

    work

    is

    marked

    by

    the

    influence

    of Bakhtin's

    dialogic

    vision

    of

    the

    language

    of fiction,

    by

    structuralist

    and

    poststructuralist

    views

    on literature,

    meaning

    and

    the

    death

    or

    survival

    of

    the

    author

    as

    the

    authoritative

    originator

    of

    meaning,

    as well

    as

    by distinct

    socio-cultilral

    developments

    in

    post-war

    Britain,

    in

    the

    U.S.

    and

    in

    the

    world

    at large.

    _

    There

    is

    also

    one

    particular

    friendship

    that

    appears

    tohave

    played an important

    part

    in

    the

    shaping

    of his

    inaividual

    artistic

    identity

    at the

    time

    of

    the

    de-centered

    self

    and

    of the

    t9

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    Fay

    Weldon

    Chapter

    3

    FRIENDLY

    (AND

    LESS

    FRIENDLY)

    FIRE IN THE