Professional Documents
Culture Documents
UTN
Literary Studies I
Teacher: Mariana Mussetta
Students: Bersia, M. Lucía
Raccone, Valeria
September 22nd, 2012
GENERAL OVERVIEW
*The author
*“The Literature of Exhaustion” (1967)
& “The Literature of Replenishment”
(1979)
*The Plot
*Characters
*Postmodernist & Metafictional traits
*Intertextual references
*Patriarchal society
*Conclusions
John Barth
*Dunyazadiad
*Scheherezade
*Sharyar
*Shah Zaman
THEMES
*Patriarchy
*Reverse role
*Love and sex
*Feminism
*Importance of language
POSTMODERNIST &
METAFICTIONAL TRAITS
According to Barth, the term POSTMODERNISM can be defined as:
” ackward and faintly epigonic, suggestive less of a vigorous or even
uninteresting new direction in the old art of story telling than on
something anticlimatic, feebly following a very hard act to follow.”
(qtd in Waugh 21)
•I’m going in circles, following my own trail! I’ve quit reading and writing;
I’ve lost track of who I am; my name’s just a jumble of letters; so’s the
whole body of literature: strings of letters and empty spaces, like a code
that I’ve lost the key to.” (Barth 18)
•“You’re a harder critic than your lover,” the Genie complained, and recited the
opening frame of the Fisherman and the Genie, the simplicity of which he felt to be a
strategic chance of pace for the third night—especially since it would lead, on the
fourth and fifth, to a series of tales-within-tales-within-tales, a narrative complexity
he described admiringly as “Oriental.” (Barth 31)
•Narrative, in short—and here they were again in full agreement—was a love relation,
not a rape: its success depended upon the reader’s consent and cooperation, which
she could withhold or at any moment withdraw; also upon her own combination of
experience and talent for enterprise, and the author’s ability to arouse, sustain, and
satisfy her interest—an ability on which his figurative life hung as surely as
Scheherezade’s literal. (Bath 34)
•(…) he had gone forward by going back, to the very roots and springs of
story. Using, like Scheherezade herself, for entirely present ends, materials
received from narrative antiquity and methods older than the alphabet, in
the time since Sherry´s defloration he had set down two-thirds of a projected
series of three novellas, longish tales which would take their sense from one
another in several of the ways he and Sherry had discussed, and, if they were
successful (here he smiled at me), manage to be seriously, even passionately,
about some things as well. (Barth 36)
•“I don’t invent, “Sherry reminded him. Her voice was no less stead than his,
but her expression—when I got hold of my senses enough to see it—was
grave. “I only recount.” (Barth 37)
•“What others?” Sherry cried. “In which order? I don’t even know the Ali Baba
story! Do you have the book with you? I’ll give you everything I have for it!”
(Barth 21)
•“The author of The Thousand and One Nights doesn’t invent,” the Genie
reminded her; “he only recounts how, after she finished the tale of Ma’aruf
the Cobbler Scheherezade rose from the King’s bed, kissed ground before
him, and made bold to ask a favor in return for the thousand and one nights
‘entertainments. (Barth 38)
PATRIARCHAL
SOCIETY
•Her second name (…)we chose in honor of our friend’s still-beloved mistress, whom
he had announced his intention to marry despite Sherry’s opinion that while women
and men might in some instances come together as human beings, wives and
husbands could never. (Barth 35)
•What are they saved for, if not a mere protracted violation, at the hands of fathers,
husbands, lovers? For the present, it’s our masters’ pleasure to soften their policy;
the patriarchy isn’t changed: I believe it will persist even to our Genie’s time and
place. (Barth 45)
•(…) Cut his bloody engine off and choke him on it, as I’ll do to Shahryar! Then we’ll
lay our own throats open, to spare ourselves their sex’s worse revenge. Adieu, my
Doony! May we wake together in a world that knows nothing of he and she! Good
night! (Barth 46)
•(…) “Let’s make love like passionate equals!” “You mean as if we were equals,”
Dunyazade said, “You know we´re not. What you want is impossible.” (Barth 62)
CONCLUSIONS
“Dunyazadiad” is a metafictional work because