Room for manoeuvre : the role of intertext in Elfriede Jelinek's Die Klavierspielerin, Günter Grass's Ein weites Feld, and Herta Müller's Niederungen and Reisende auf einem Bein
著者
書誌事項
Room for manoeuvre : the role of intertext in Elfriede Jelinek's Die Klavierspielerin, Günter Grass's Ein weites Feld, and Herta Müller's Niederungen and Reisende auf einem Bein
（Texts and dissertations, v.64）（Bithell series of dissertations, v.28）
Maney Publishing for the Modern Humanities Research Association and the Institute of Germanic and Romance Studies, University of London, 2005
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注記
Originally published as the author's thesis (Ph. D.)--University of London, 2003
Includes bibliographical references (p. [159]-166) and index
内容説明・目次
内容説明
In the structuring of literary texts that refer extensively to previous
texts ('intertexts'), one issue is paramount: the space accorded to the reader.
In entering into the intertextual debate, the reader is called upon to
corroborate both the authority of the text being read and the power of literary
continuity that the earlier intertext embodies, and to assert his or her
independence from this same authority in the very act of responsing
individually to its multiple significations.
This study of four contemporary literary texts, all very distinct in form and
method, analyses the dynamic relationship between reader, text and intertext
and suggests that it is in the effectiveness of this manoeuvring, by and of the
reader, that the intertextual narrative can be shown to find its force. In
Jelinek's Die Klavierspielerin the pornographic, psychoanalytic and
musical intertexts form a discursive nexus of effects, central to the
construction of a highly ironic narrative voice that unsettles and energises
the reader into critical response. The intertextual game of Ein weites Feld
creates a text that is structurally and thematically 'out of control': by this
means Grass brings the reader into confrontation with the celebratory
discourses of German reunification. Herta Muller's depiction of the village
idyll in Niederungen embraces and disrupts the long-established and
predominantly nostalgic genre of writing about the 'Heimat'. The quotational
mode, and our discomfort in responding to it, opens up questions of authority
and control, while Muller's use of a Calvino intertext in Reisende auf
einem Bein is fundamental in the development of a central character whose
elusive quality reflects (on) thematic issues addressed by the text.
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