Reading Feminist Intertextuality Through Bluebeard Stories

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This study offers a new theory for feminist intertextuality based on strategies at work in rewritings of the Bluebeard fairy tale. The book asserts that feminist intertextuality revises one coercive intertext in particular: that of intertextuality theory itself. Rewritings of the fairy tale accordingly can be seen to privilege either the embedded narrative or the escape from it, subscribing either to monologic or dialogic intertextuality. The work examines the original Bluebeard tale group (Perrault, Grimm, variants); historical and modern Bluebeards; and then other writers, including Jane Austen, William Godwin, Margaret Atwood, John Fowles, Peter Ackroyd, Kurt Vonnegut, Angela Carter, Gloria Naylor, Emma Cave, Max Frisch, Stephen King, Méira Cook, and Donald Barthelme.

Table of Contents

Table of contents (main headings):
Preface by Patricia Merivale
Introduction: Feminist Interxtuality; The Bluebeard Tale group (Perrault, Grimm, variants) Historical Bluebeards – Commorre the Accursed, Gille de Rais, Henry VIII; Modern Bluebeards – Henri Landru; Gufler, Gein and Watson; Lady Bluebeards; Bluebeard’s Castle as Text (King’s The Shining); Story as Two Intertextual Models; Presupposition; Feminist Intertextuality
Part One: The Haunted Text: Gothic Presuppositions (William Godwin’s Caleb Williams; Jane Austen’s Northanger Abbey)
Part Two: Buried Secrets: The Mise en Abysme (John Fowles’s The Collector; Peter Ackroyd’s Dan Leno and the Limehouse Golem; Kurt Vonnegut’s Bluebeard; Angela Carter’s The Magic Toyshop and Nights at the Circus; Gloria Naylor’s Linden Hills)
Part Three: Murder in the Dark: the Textual Mise en Scène (Margaret Atwood’s The Robber Bride and ‘Bluebeard’s Egg’ ; Emma Cave’s Bluebeard’s Room; Max Frisch’s Bluebeard – A Tale; Donald Barthelme’s ‘Bluebeard’; Méira Cook’s ‘Instructions for Navigating the Labyrinth’)
Conclusion, Bibliography and Filmography; Index

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