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Intertextuality in the fiction and criticism

This is a study on the literary relation between Beckett and Dante. It is a reading of Samuel Beckett and Dante's works and a critical engagement with contemporary theories of intertextuality. The book gives a reading of Beckett's work, detecting previously unknown quotations, allusions to, and parodies of Dante in Beckett's fiction and criticism. It is aimed at the scholarly communities interested in literatures in English, literary and critical theory, comparative literature and theory, French literature and theory and Italian studies.

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A spirited exchange 1760-1960
Editor: Avril Horner

The essays in this book demonstrate the importance of translation and European writing in the development of the Gothic novel. Cross-cultural exchanges occurred with the translation of novels by English writers into French. The book first situates works by British writers and American writers within a European context and legacy. Next, it offers readings of less-known works by Gothic authors. The book introduces the reader to a range of neglected, albeit influential, European Gothic texts which originated in Russian, Spanish, French and German. It argues that the level of ideological manipulation, which occurred as texts were translated, mistranslated, appropriated, misappropriated, altered and adapted from one language to another, was so considerable and so systematic that generic mutations were occasioned. The book suggests that Matthew Lewis's The Monk offers a few models of femininity, all deriving from and intended to disrupt, previous literary representations. It focuses on the automatic and the systematic in Charles Maturin's work in relation to Denis Diderot's contemporary philosophical conceptualizations of consciousness and identity. Gothic treacheries are dealt with through Samuel Coleridge's analysis of misappropriation of Friedrich Schiller's Die Rauber. The book also discusses the representations of ritual violence, as sanctioned by the Catholic Church, in English and Spanish pictorial and literary texts between 1796 and 1834. It talks about the Arabesque narrative technique of embedding tales within tales to create a maze in which even the storyteller becomes lost, reflecting the Eastern notion that the created is more important than the creator.

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We confused France with her literature. And true literature was that magic, a word, a verse, a chapter of which transported us into a changeless moment of beauty. (Andreï Makine, Le Testament français ) 1 As a conclusion to this volume, we shall just look briefly at some of the ‘pathways’ within, and to, a fairly recent prizewinning novel, published in 1995 and written by a Russian, Andreï Makine

in Odoevsky’s four pathways into modern fiction
French fiction and Djuna Barnes’s Nightwood

Gothic writing might seem somewhat anomalous. However, in this chapter I shall argue that Djuna Barnes’s most famous work, Nightwood, which was written in Europe and published in 1936, engages with French literature in a number of ways in order to develop its own transatlantic Gothic agenda. I shall therefore try to retrieve Djuna Barnes’s Nightwood as a Gothic text and, in so doing, trace its

in European Gothic

‘pillours of Eternity’ but that are, in that early poem, merely those of an arrogant Rome as it starts to crumble deep into the image. This reversal could of course be a coincidence, but it remains pleasant to consider how Virgil’s ‘wheel’ brought England’s first major epic poet back to his earliest and pre-pastoral verse, verse that he owed to the poet who hoped to do for French poetry what one could argue that Virgil had done for Latin. For both Spenser and Donne, then, the history and literature of the Continent – always mere miles across

in Spenser and Donne

thematic. Beur literature only began to enjoy commercial success in the early s, when a substantial number of the children of North African immigrants first reached adulthood. The designation beur is considered an example of verlan – a form of French slang involving the inversion of syllables – stemming from the term ‘Arabe’. The term itself has become problematic in that its common currency in France and appropriation by the French media have endowed it with many of the pejorative, Occidental associations of its precursor. Alternative modes of designation refer to

in Women’s writing in contemporary France
Open Access (free)

     Conclusion One of the major features of this book is its focus on various aspects of the subject and identity as they are conceived and represented in contemporary women’s writing in France. The contributors to this volume have overwhelmingly read the works of our chosen writers as tales of, quests for, explorations of, and crises in the self. It should be noted that this self is actually plural and that the selves in question are not necessarily those of the writers (either within or outside the text). Rather, as fictions, they

in Women’s writing in contemporary France
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Writing for the stage in Restoration Dublin

, the Theatre Royal at Smock Alley, provided for the full staging of plays. The literature of Restoration Dublin was Renaissance in character – heavily influenced by the humanistic values of continental Europe with its keen interest in the civilisation of ancient Rome. A strong cultural connection with the Continent, particularly France, was ensured through the inclinations and interests of prominent figures in Ireland at the time such as Roger Boyle, first earl of Orrery, and James Butler, first duke of Ormond. As a young man, Boyle had toured France and Italy under

in Dublin
Literature and/or reality?

   Christine Angot’s autofictions: literature and/or reality? From her very first novel,Vu du ciel,which was published in ,Christine Angot has established herself firmly as a writer who has made it her mission to explore and expose relentlessly the thin line between reality and fiction.1 The last quarter of the twentieth century, in French literature, will probably be remembered, among other things, as the period in which a new genre – that of autofiction – emerged and flourished. It has become a privileged mode of writing for many writers who have

in Women’s writing in contemporary France

). The ‘foulard’ is a scarf twisted into a headdress; the ‘madras’ a checked cotton dress. The ‘graine d’or’ and the ‘collier chou’ are highly prized (and highly expensive) pieces of gold jewellery. The story behind the song is obviously not uncommon in the literatures of Empire; to restrict discussion to the French sphere of influence, what has been called the paradigm of ‘landing–loving–leaving’ also appears, for instance, in fictions about Indochina (Cooper 2001: 167). It is the story of the unfortunate heroine of Abdoulay Sadji’s novel, Nini: mulâtresse du Sénégal

in Frantz Fanon’s 'Black Skin, White Masks