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Second death in Venice: Cognitive m...

Seaboyer, Judith Ailsa.

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Second death in Venice: Cognitive mapping in the Venetian fictions of Jeanette Winterson, Ian McEwan, and Robert Coover.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	Second death in Venice: Cognitive mapping in the Venetian fictions of Jeanette Winterson, Ian McEwan, and Robert Coover./
作者:	Seaboyer, Judith Ailsa.
面頁冊數:	255 p.
附註:	Source: Dissertation Abstracts International, Volume: 61-01, Section: A, page: 1750.
Contained By:	Dissertation Abstracts International61-01A.
標題:	Modern literature. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=NQ45827
ISBN:	9780612458277

Second death in Venice: Cognitive mapping in the Venetian fictions of Jeanette Winterson, Ian McEwan, and Robert Coover.
Seaboyer, Judith Ailsa.

Second death in Venice: Cognitive mapping in the Venetian fictions of Jeanette Winterson, Ian McEwan, and Robert Coover. - 255 p.

Source: Dissertation Abstracts International, Volume: 61-01, Section: A, page: 1750.

Thesis (Ph.D.)--University of Toronto (Canada), 1997.

Venice has long been a privileged site for writers in English, but for much of this century, it seemed there was little left to say. Since 1980, however, there has been a marked return to Venice as a literary setting, and this thesis examines the material conditions-cultural, political, historical, and geographical-that are responsible for that return. It considers the creative interdependence of city and culture, and their intersection with Venetian topography in contemporary literature, specifically in Ian McEwan's The Comfort of Strangers, Jeanette Winterson's The Passion , and Robert Coover's Pinocchio in Venice.

ISBN: 9780612458277Subjects--Topical Terms:

2122750
Modern literature.

Second death in Venice: Cognitive mapping in the Venetian fictions of Jeanette Winterson, Ian McEwan, and Robert Coover.
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245 1 0 $a Second death in Venice: Cognitive mapping in the Venetian fictions of Jeanette Winterson, Ian McEwan, and Robert Coover.
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520 $a Venice has long been a privileged site for writers in English, but for much of this century, it seemed there was little left to say. Since 1980, however, there has been a marked return to Venice as a literary setting, and this thesis examines the material conditions-cultural, political, historical, and geographical-that are responsible for that return. It considers the creative interdependence of city and culture, and their intersection with Venetian topography in contemporary literature, specifically in Ian McEwan's The Comfort of Strangers, Jeanette Winterson's The Passion , and Robert Coover's Pinocchio in Venice.
520 $a The new twentieth-century cities are being mapped and produced by contemporary writers of fiction like Angela Carter, Paul Auster, Bret Easton Ellis, and William Gibson, and theorists like Marshall Berman, Edward Soja, Elizabeth Grosz, and Christine Boyer, who are interpreting and making sense of our urban state of mind much as Baudelaire and Dickens, Mayhew and Engels, made sense of that of the nineteenth. Such mapping shapes the thinking in this thesis, and the new Venetian novels are unquestionably part of this same broad literary continuum, but at the same time they are situated, quite literally, elsewhere. While these texts are seen as a return of the repressed other of an earlier literary Venice and hence as driven by the compulsion to repeat, they are also (and perhaps more importantly) seen as moves toward a cognitive mapping of an as yet illegible, shifting, and bewildering landscape. McEwan, Winterson, and Coover discover in Venice a means of articulating a late-twentieth-century sensibility, not from the vantage point of the abstract metropolis of modernity or the edge city of postmodernity, but from within the contained symbolic landscape of the medieval city/Renaissance urbs that is Venice. Through the reading and deconstruction of existing maps/writings/readings of a clearly articulated, legible city whose mythologized history can be traced back at least fifteen centuries and which has changed little topographically since the Renaissance, these writers map---and shape---an as yet uncharted late-twentieth-century mind shift.
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