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Jeanette Winterson is one of the most talked-about novelists in the late twentieth-century. Her impact on both popular and literary culture in England is owing at least in part to the acclaim awarded to her first novel, Oranges Are Not the Only Fruit(985). Since her first novel, Winterson has published 10 books of fiction, several short stories, articles on movies and feminism, a book on female body image and fitness consciousness, and two television scripts(including the television adaptation of Oranges Are Not the Only Fruit, 1990).
In this paper, I will examine Winterson's postmodem narrative technique in Oranges Are Not the Only Fruit(985), such as decentering history, parody, intertextuality, magic realism through dreams, fantasy, and fairy tales. I will discuss it by reading her fiction through Art Objects, her 1995 collection of "Essays on Ecstasy and Effrontery" which appears to be a declaration of her aesthetic credo. I also suggest that the spell of words in Winterson's fiction is infinitely more subtle and complex than her self-justificatory and often self-regarding polemic. Art Objects is Winterson's attempt to locate her individual talent in relation to a particular tradition of writing. It may indeed be her way of rein venting herself as a particular kind of writer and of retrospectively rewriting her
fictional oeuvre to date.
Oranges Are Not the Only Fruit has many of the formal and thematic characteristics which we have come to associate with postmodernist fictional practice in the late twentieth century: parody, irony, pastiche, self-reflexivity, and playfulness, a sense of multiplicity, fragmentation, instability of meaning, and an apparent distrust of grand narratives. In Oranges Are Not the Only Fruit, Winterson presents her readers with a world of apparently endlesslY proliferating narrative, of stories within stories within stori~s. The story of Jeanette in Oranges Are Not the Only Fruit is refracted through narrative models of different books of the Old Testament interwoven with intertextual allusions to medieval romance and folk and fairy tale.
From the start her most significant achievement lies in how she combined a plot full of intriguing, slightly quirky characters with a touch of late-twentieth-century postmodem self-consciousness. With her first four novels, that self-conscious touch took on the genre of the fantastic. From magic· realism to parables, from religious iconography come to life to revisionist fairy tales, Winterson's early work flirts with the traditions of Angela Carter, Gabriel Garcia Marquez, Salman Rushdie, and Italo Calvino.
In this paper, I will examine Winterson's postmodem narrative technique in Oranges Are Not the Only Fruit(985), such as decentering history, parody, intertextuality, magic realism through dreams, fantasy, and fairy tales. I will discuss it by reading her fiction through Art Objects, her 1995 collection of "Essays on Ecstasy and Effrontery" which appears to be a declaration of her aesthetic credo. I also suggest that the spell of words in Winterson's fiction is infinitely more subtle and complex than her self-justificatory and often self-regarding polemic. Art Objects is Winterson's attempt to locate her individual talent in relation to a particular tradition of writing. It may indeed be her way of rein venting herself as a particular kind of writer and of retrospectively rewriting her
fictional oeuvre to date.
Oranges Are Not the Only Fruit has many of the formal and thematic characteristics which we have come to associate with postmodernist fictional practice in the late twentieth century: parody, irony, pastiche, self-reflexivity, and playfulness, a sense of multiplicity, fragmentation, instability of meaning, and an apparent distrust of grand narratives. In Oranges Are Not the Only Fruit, Winterson presents her readers with a world of apparently endlesslY proliferating narrative, of stories within stories within stori~s. The story of Jeanette in Oranges Are Not the Only Fruit is refracted through narrative models of different books of the Old Testament interwoven with intertextual allusions to medieval romance and folk and fairy tale.
From the start her most significant achievement lies in how she combined a plot full of intriguing, slightly quirky characters with a touch of late-twentieth-century postmodem self-consciousness. With her first four novels, that self-conscious touch took on the genre of the fantastic. From magic· realism to parables, from religious iconography come to life to revisionist fairy tales, Winterson's early work flirts with the traditions of Angela Carter, Gabriel Garcia Marquez, Salman Rushdie, and Italo Calvino.
목차
Ⅰ. 서론
Ⅱ. 중심과 역사의 해체
Ⅲ. 패러디
Ⅳ. 상호텍스트성
Ⅴ. 꿈, 환상, 그리고 동화와 판타지
Ⅵ. 결론
참고문헌
참고문헌 (19)
참고문헌 신청
[단행본] - Bakhtin, Mikhail / 1981 / From the Prehistory of Novelistic Discourse(The Dialogic Imagination: Four Essays) / Austin: U of Texas P
[단행본] - Bhabha, Homi / 1994 / The Location of Culture / New York: Routledge
[학술지(정기간행물)] - Bollinger, Laurel / 1994 / Models for Female Loyalty: The Biblical Ruth in Jeanette Winterson’s Oranges Are Not the Only Fruit / Tulsa Studies in Women’s Literature 13 (2) : 363 ~ 80
[단행본] - Cosslett, Tess / 1998 / Intertextuality in Oranges Are Not the Only Fruit: The Bible, Malory, and Jane Eyre( ‘I’m Telling You Stories’: Jeanette Winterson and the Politics of Reading) / Amsterdam: Rodopi : 15 ~ 28
[단행본] - Derrida, Jacques / 1976 / Of Grammatology / Baltimore: Johns Hopkins UP
[단행본] - Bhabha, Homi / 1994 / The Location of Culture / New York: Routledge
[학술지(정기간행물)] - Bollinger, Laurel / 1994 / Models for Female Loyalty: The Biblical Ruth in Jeanette Winterson’s Oranges Are Not the Only Fruit / Tulsa Studies in Women’s Literature 13 (2) : 363 ~ 80
[단행본] - Cosslett, Tess / 1998 / Intertextuality in Oranges Are Not the Only Fruit: The Bible, Malory, and Jane Eyre( ‘I’m Telling You Stories’: Jeanette Winterson and the Politics of Reading) / Amsterdam: Rodopi : 15 ~ 28
[단행본] - Derrida, Jacques / 1976 / Of Grammatology / Baltimore: Johns Hopkins UP
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