Sommario Culture 2002



1 Although different languages often come into play in her novels, they are definitely written in English, and were all published in Britain.

2 In particular, the urge to find new tools for her investigation was precipitated by a serious illness she suffered from in 1962, which she believed would prove fatal and which deeply influenced her approach to reality and to her work as a writer.

3 References to Out, Between and Thru will be to the Omnibus edition (1986).

4 This translates into Latin as 'in cetus', and should be read as an allusion to Orwell's essay "Inside the Whale" (1940), in which he claims that the totalitarian age the world was witnessing had silenced writing. The writer, then, is reduced to silence, just like Cassandra (imprisoned by victorious Agamemnon, who inspired the title of Brooke-Rose's novel) and Brooke-Rose's character herself (as a woman in a patriarchal society).

5 The French version of this phrase was introduced by Barthes in S/Z (Barthes: 1970, in Oeuvres Complètes vol. II, Paris, seuil, 1994, 558), where he enlarged on an idea which he had already anticipated in "La mort de l'auteur" (1968), namely the impossibility, in "writing" and the writerly text, of answering the question "Who speaks?" In order to be plural and in order to let language speak, the text should eliminate all indications of origin and authorship because, as Barthes states, "The more the origin is nowhere to be found, the more the text is plural" (Barthes: 1970, in Oeuvres Complètes vol. II, 582).

6 Unless otherwise stated, all translations are mine.

7 For example, in the diagram on page 579 the two eyes of the person reflected in the mirror become four and this second pair of eyes is reflected as if located near the hairline.

8 By textual analysis I obviously mean not only to the analysis of the content of a text, but also of its more formal, linguistic and grammatical aspects, as these are clearly the elements which make of "a" text "that" particular text.

9 This was for example the case with many theories of reading which granted the reader - previously marginalised in favour of either the author (before the New Criticism) or the text (in the New Criticism) - a primary position in the interpretative process. As Culler claimed in 1983, in fact, many of the difficulties and discontinuities of texts such as the nouveaux romans published by Robbe-Grillet and Sarraute during the 1950s and 1960s, became amenable when the reader was allowed to become the protagonist of the reading process.



Torna all'articolo
Vai alla Bibliografia