By Monica Loeb
A sequence of intertextual brief tales via Joyce Carol Oates, released in 1972, constitutes the subject-matter of the current paintings. Having entered into ‘literary marriages’ with liked masters, resembling Kafka, Joyce, Thoreau, Flaubert, James and Chekhov, Oates has ‘re-imagined’ their vintage masterpieces.
This learn goals at checking out no matter if Oates is still ‘faithful’ to the unique types. What parts in addition to the titles are retained, or additional? Why does a tender American girl author adopt a discussion with deceased authors and their texts? Why the fast tale style? what's Oates’s dating to intertextuality, literary culture, or the very aesthetics of her personal art?
Grounded in theories of intertextuality, comparative analyses convey that Oates is still ‘faithful’ in a few of her religious unions, whereas committing ‘infidelities’ in others. for a lady author within the Seventies transgression used to be a need for survival; those tales therefore belong to the revisionary flow. whereas assimilating and engendering a strongly Eurocentred male literary culture, Oates manages to unencumber power from the unique tales remodeling them into expressions of her own specific literary voice.
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Extra resources for Literary Marriages: A Study of Intertextuality in a Series of Short Stories by Joyce Carol Oates
36 John Alfred Avant, “An Interview with Joyce Carol Oates” in Milazzo 29. 37 Phillips 81. 38 Oates, “Transformation of Self,” 53. 39 Joyce Carol Oates, “JCO” and I (Concord: William B Ewert, 1994). 40 Phillips 65. 41 So far the following novels have appeared under pseudonym: Lives of the Twins (87), Soul/Mate (89), Nemesis (90), Snake Eyes (92), You Can’t Catch Me (95) and Double Delight (98). 42 Fernandes/Joyce Carol Oates, The Poisoned Kiss and Other Stories from the Portuguese (Greenwich: Fawcett, 1975).
These are the very issues addressed in the first section of this chapter: theories of intertextuality; the role of reading and reader response; the relationship of American women writers to the literary tradition, not only the male Eurocentered but also the American canon; finally, the revisionary movement in the 70’s. A second section will more specifically discuss and exemplify Oatesean intertextuality with particular references to titles, biography/autobiography and genre. Theories of Intertextuality Traditionally there has been great emphasis on originality in literary works.
These are rites that have lived on in pastoral scenes depicted in art, in pastoral plays, and in our celebration of Midsummer in Sweden. In some of these festivals a real or mock wedding took place. Diana, the goddess of woods, beasts, hunting, fertility, for instance, had her nuptials re-celebrated every year, either by images or by living persons re-enacting the ceremony (Frazer 140-142). Frey is mentioned as a Swedish god of fertility whose image was annually “drawn about the country in a waggon attended by a beautiful girl who was called the god’s wife” and who acted as his priestess at the Uppsala temple (143).