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Copy, imitation, forgery as an artistic principle in the novel Chatterton by Peter Ackroyd
Labanczová, Johana ; Armand, Louis (advisor) ; Roraback, Erik Sherman (referee)
In the first chapter a question was posed: whether the original and the derivative represent a classic binary opposition in Chatterton. The wide usage of repetition in the novel was revealed to highlight the textuality (in the sense of Waugh's 'condition of artifice'1), intertextuality and self-intertextuality of Chatterton - in particular through references to other texts, the novel's self-referentiality, but also the applying of the means of visual representation (as it was shown in the third chapter). By showing its dependence on particular artistic and textual representations, repetition calls attention to the fact that for example also history could be considered a textual construct. Going back to the initial discussion of the opposition between the original and the derivative, it should be mentioned, as John Frow states, that it is exactly the metaphor of textuality what has a power to overcome 'the dichotomisation of the real to the symbolic, or the base to the superstructure, or the social to the cultural,'2 or the original to the derivative. The subversiveness of embracing the metaphor of textuality goes beyond the one of a forger, counterfeiter or plagiarist. Their works, as Ruthven puts it, 'exhibit a carnivalesque irreverence towards the sanctity of various conventions designed to limit what is...
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Academic spectacle: commodification of knowledge in Pnin, The Breast and White Noise
Labanczová, Johana ; Ulmanová, Hana (advisor) ; Pilný, Ondřej (referee)
The thesis called Academic Spectacle: Commodification of Knowledge in Pnin, The Breast, and White Noise deals with the commodifying influence of the consumer society on education, knowledge and the perception of information, as it is reflected in the following American academic novels: Pnin (1957) by Vladimir Nabokov, Philip Roth's The Breast (1972) and White Noise (1985) by Don DeLillo. The thesis combines the approach of literary analysis with the use of cultural- theoretical terms and theories relating to the state of postmodern society from the texts of Waltr Benjamin, Jean Baudrillard, Guy Debord, Linda Hutcheon or Theodore Adorno and Max Horkheimer. In addition, it elaborates on sociological concepts, such as "the risk society" of Ulrich Beck, the "public arenas model" of approaching social problems of Stephen Hilgratner and Charles Bosk or "the hyperconsumer society", the term Gilles Lipovetsky applies to the state of present societies. Therefore, the thesis belongs to the area of cultural studies, which typically combine the approaches of sociology and literary studies. For the sake of analyzing the influence of the consumer society on the academic environment (as it is reflected in the given novels), we established four basic aspects of commodification: reification, banalization,...
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Copy, imitation, forgery as an artistic principle in the novel Chatterton by Peter Ackroyd
Labanczová, Johana ; Armand, Louis (advisor) ; Roraback, Erik Sherman (referee)
In the first chapter a question was posed: whether the original and the derivative represent a classic binary opposition in Chatterton. The wide usage of repetition in the novel was revealed to highlight the textuality (in the sense of Waugh's 'condition of artifice'1), intertextuality and self-intertextuality of Chatterton - in particular through references to other texts, the novel's self-referentiality, but also the applying of the means of visual representation (as it was shown in the third chapter). By showing its dependence on particular artistic and textual representations, repetition calls attention to the fact that for example also history could be considered a textual construct. Going back to the initial discussion of the opposition between the original and the derivative, it should be mentioned, as John Frow states, that it is exactly the metaphor of textuality what has a power to overcome 'the dichotomisation of the real to the symbolic, or the base to the superstructure, or the social to the cultural,'2 or the original to the derivative. The subversiveness of embracing the metaphor of textuality goes beyond the one of a forger, counterfeiter or plagiarist. Their works, as Ruthven puts it, 'exhibit a carnivalesque irreverence towards the sanctity of various conventions designed to limit what is...
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