“And it’s all there” – Intertextual Structures, Themes, and by Kathrin Fäller

By Kathrin Fäller

degree Thesis from the 12 months 2010 within the topic English Language and Literature reports - Literature, grade: 1,3, Martin Luther collage (Institut für Anglistik und Amerikanistik), language: English, summary: With the expansion in reputation as a result of sequence like Anne Rice’s The Vampire Chronicles and the motif’s habitual presence in cinematic variations of Stoker’s Dracula in addition to a variety of television codecs public curiosity hasn't ever ceased to the current day. because the most vital attribute of the vampire is its being multi-faceted and altering, its power to be additionally of serious intertextual price may be thereupon thought of. hence, it may be assumed that Meyer’s tetralogy sincerely conjures up those circumstances of intertextuality during the adoption of styles and subject matters that experience already proved effective in previous literary works. although, in Meyer’s paintings those resources are remarkably prolonged and occasionally even altered as she is predicated to a wide half on her pretexts to inform her narrative and build a postmodern vampire determine.
In order to accomplish a accomplished research it's important to include all 4 volumes – Twilight, New Moon, Eclipse, and Breaking sunrise – of the Twilight sequence within the dialogue. Meyer’s only recently released paintings the quick moment lifetime of Bree Tanner: An Eclipse Novella will in simple terms interact a marginal a part of the research because it principally concentrates at the subplot of Eclipse, accordingly now not being really major for the most occasions of the tale. nonetheless, Meyer’s nighttime sunlight, even if until eventually the current day a but unfinished and unpublished manuscript, is of significant value for the following research.
Meyer dwells on a couple of topics, buildings, and characters that experience intertextual capability. you will distinguish among pretexts which are it seems that marked in Meyer’s paintings and resources that purely undergo non-literal intertextual references. Pretexts which are brazenly marked and are therefore explicitly intertextual within the Twilight sequence are: Emily Brontë’s Wuthering Heights, William Shakespeare’s Romeo and Juliet, The Midsummer Night’s Dream and The service provider of Venice, Bram Stoker’s Dracula in addition to Jane Austen’s delight and Prejudice,
Sense and Sensibility and Mansfield Park. a few different pretexts are just covertly marked as they aspect again to literary traditions or personality forms. Pretexts which are implicitly marked are: Mary Shelley’s Frankenstein, Johann Wolfgang von Goethe’s Die Braut von Korinth, Samuel Taylor Coleridge’s The Rime of the traditional Mariner and Christabel, John Keats’ Lamia, Henry Mackenzie’s the fellow of Feeling, Lord Byron’s Manfred in addition to Roman Polanski’s motion picture variation of Rosemary’s Baby.

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