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FABLES OF TRANSGRESSION: CONFESSION...

CLEJ, ALINA MARINA.

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FABLES OF TRANSGRESSION: CONFESSION AS ANTI-CONFESSION IN THE WORKS OF DE QUINCEY, BAUDELAIRE AND NABOKOV (FRANCE; ENGLAND; UNITED STATES).

Record Type:	Language materials, printed : Monograph/item
Title/Author:	FABLES OF TRANSGRESSION: CONFESSION AS ANTI-CONFESSION IN THE WORKS OF DE QUINCEY, BAUDELAIRE AND NABOKOV (FRANCE; ENGLAND; UNITED STATES)./
Author:	CLEJ, ALINA MARINA.
Description:	231 p.
Notes:	Source: Dissertation Abstracts International, Volume: 48-07, Section: A, page: 1761.
Contained By:	Dissertation Abstracts International48-07A.
Subject:	Literature, American. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=8717940

FABLES OF TRANSGRESSION: CONFESSION AS ANTI-CONFESSION IN THE WORKS OF DE QUINCEY, BAUDELAIRE AND NABOKOV (FRANCE; ENGLAND; UNITED STATES).
CLEJ, ALINA MARINA.

FABLES OF TRANSGRESSION: CONFESSION AS ANTI-CONFESSION IN THE WORKS OF DE QUINCEY, BAUDELAIRE AND NABOKOV (FRANCE; ENGLAND; UNITED STATES). - 231 p.

Source: Dissertation Abstracts International, Volume: 48-07, Section: A, page: 1761.

Thesis (Ph.D.)--University of California, Berkeley, 1986.

The present study explores the nature and mechanisms of confessional discourse by examining a number of deviant confessions (or anti-confessions) which take, more or less openly, the Augustinian model as their implicit norm. De Quincey's "opiated" revelations of his self, Baudelaire's parasitic confessions, and Nabokov's fictional, mock-serious confessions expose, each in its own subversive way, the precarious status of the confessional paradigm.Subjects--Topical Terms:

1017657
Literature, American.

FABLES OF TRANSGRESSION: CONFESSION AS ANTI-CONFESSION IN THE WORKS OF DE QUINCEY, BAUDELAIRE AND NABOKOV (FRANCE; ENGLAND; UNITED STATES).
LDR:03514nam 2200301 a 45 001 934450
005 20110509
008 110509s1986 d
035 $a (UnM)AAI8717940
035 $a AAI8717940
040 $a UnM $c UnM
100 1 $a CLEJ, ALINA MARINA. $3 1258153
245 1 0 $a FABLES OF TRANSGRESSION: CONFESSION AS ANTI-CONFESSION IN THE WORKS OF DE QUINCEY, BAUDELAIRE AND NABOKOV (FRANCE; ENGLAND; UNITED STATES).
300 $a 231 p.
500 $a Source: Dissertation Abstracts International, Volume: 48-07, Section: A, page: 1761.
502 $a Thesis (Ph.D.)--University of California, Berkeley, 1986.
520 $a The present study explores the nature and mechanisms of confessional discourse by examining a number of deviant confessions (or anti-confessions) which take, more or less openly, the Augustinian model as their implicit norm. De Quincey's "opiated" revelations of his self, Baudelaire's parasitic confessions, and Nabokov's fictional, mock-serious confessions expose, each in its own subversive way, the precarious status of the confessional paradigm.
520 $a Although there are certain undeniable affinities and perhaps less obvious filiations which relate the authors under discussion, my choice of texts is motivated mainly by theoretical considerations. On the one hand, these texts are conspicuous for the ways in which they tend to exacerbate the internal contradictions of the confessional paradigm by exploiting the subtle and inextricable link between thematic and linguistic transgression. On the other hand, they constitute anomalous confessions to the extent to which they challenge--from within the boundaries of the genre--traditional confessions. It is in this sense that these texts may be said to constitute a genre of their own, the anti-confession, which forces the limits of the confessional genre, by displacing the very concept of the limit, and by redefining the semantic regime in which confessional discourse operates.
520 $a In all three cases, however, transgression goes beyond predictable modes of subversion. De Quincey's multiple confessions of his opium addiction, which involve the coexistence of different types of confessional discourse (medical, juridical, religious), or his confessions of opium dreams, Baudelaire's confessional translation, in which two individual discourses interact and comingle, or Nabokov's mock-serious fictive confession, which conflates two generic conventions (that of vera narratio and parody) may be said to exceed the genre in the direction of new modes of expression: the musical confession (De Quincey's "dream-fugues"), the literary collage (Baudelaire's "artificial paradises"), or the confessional puzzle, in which the imbrication of various confessional modes ("inter-textuality") acquires the textural quality of a design (Nabokov's fictional confessions).
520 $a In the end, however, what matters is not how truth can be aestheticized, but what allows for this inevitable aestheticization in the confession itself. Analyzing this aspect of the genre will enable us to see how these authors realized, in every sense of the word, the possibilities latent within confessional discourse. (Abstract shortened with permission of author.)
590 $a School code: 0028.
650 4 $a Literature, American. $3 1017657
650 4 $a Literature, Comparative. $3 530051
650 4 $a Literature, English. $3 1017709
650 4 $a Literature, Romance. $3 1019014
690 $a 0295
690 $a 0313
690 $a 0591
690 $a 0593
710 2 0 $a University of California, Berkeley. $3 687832
773 0 $t Dissertation Abstracts International $g 48-07A.
790 $a 0028
791 $a Ph.D.
792 $a 1986
856 4 0 $u http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=8717940