To Kill a Text: The Dialogic Fiction of Hugo, Dickens, and Zola
In a unique demonstration of the critical possibilities of Mikhail Bakhtin's concept of dialogism, To Kill a Text: The Dialogic Fiction of Hugo, Dickens, and Zola analyzes the intertextual conflicts between four monuments of nineteenth-century fiction: Victor Hugo's Notre-Dame de Paris, Charles Dicken's Bleak House, and Emile Zola's Le Ventre de Paris and Germinal. The book's fundamental hypothesis is that Dickens and Zola exemplify Hugo's conception of the novel - and of literary history - as a "graft" of one work upon another, producing hybrid mixtures of genres and styles of representation. For Hugo, a new work always "kills" its predecessor while at the same time preserving its memory. Thus writing becomes inlaid with writing; the text, a palimpsest. Ilinca Zarifopol-Johnston's book traces the covert manifestations of Hugo's romantic notion of the novel through later French and English realism, arguing that the anachronistic traces of past literary periods are always at work defining the aims of the present, no matter how radical a new departure it seems or tries to be.
What people are saying - Write a review
We haven't found any reviews in the usual places.
Bakhtins Dialogue with Hugo
NotreDame de Paris The Hybrid Novel
Formal Incongruity in Dickenss Bleak House
Fiction Fair or Fiction Foul? Bleak House and NotreDame de Paris
Ceci tuera cela The Cathedral in the Marketplace
Other editions - View all
aesthetic Ainsworth ambiguous architecture artistic authorial discourse becomes belly Bleak House bourgeois carnival Catherine Chancery chapter characters Charles Dickens Chesney Wold church Clark and Holquist Claude Frollo Claude's coexistence concept critics Dickens's dramatic Emile Zola epic Esmeralda Esther Etienne Etienne's fiction Florent free indirect speech genre Germinal Gothic graft Gringoire's grotesque realism Halles heteroglossia Hillis Miller Hugo's Notre-Dame Ibid interpretation intertextual italics added Lady Dedlock language literary history meaning metaphor Mikhail Bakhtin miners mirror Morson and Emerson narrative Notre-Dame de Paris novelistic original parody past Pierre Gringoire plot poetics Preface de Cromwell pregnant death present Quasimodo Rabelais reading reality relation relationship represented rewriting rhetoric romantic romantic realism Ruskin Saint-Eustache scene Scott Seebacher spectacle speech story structure style stylistic symbol theme theory tion Tower of Babel trace tradition tuera Tulkinghorn Ventre de Paris Victor Hugo voice writing Zola Zola's
Page 21 - Genre is reborn and renewed at every new stage in the development of literature and in every individual work of a given genre. This constitutes the life of the genre. [...] A genre lives in the present, but always remembers its past, its beginning. Genre is a representative of creative memory in the process of literary development.
Page 20 - Unitary language constitutes the theoretical expression of the historical processes of linguistic unification and centralization, an expression of the centripetal forces of language. A unitary language is not something given [dan] but is always in essence posited [zadan] — and at every moment of its linguistic life it is opposed to the realities of heteroglossia.