Within the full spectrum of various literary theories offered by modern criticism,
the theory of intertextuality deserves a particular attention. This ambitious concept,
proposed by Julia Kristeva in the 1960’s, shed new light on the understanding and
approach to a literary text. Influenced by Bakhtin’s theory of dialogism, the French
scholar suggested a new model of communication which consists of two axes:
horizontal, involving communication between subject and addressee, and vertical which
is in an interaction between a text and a context. The two axes, as she claimed, coincide
which stresses the fact that “each word (text) is an intersection of word (texts) where at
least one other word (text) can be read” (Kristeva in: Allen: 2000, 39). She further drew
a conclusion that “any text is constructed like a mosaic of quotations; any text is the
absorption and transformation of another” (Kristeva in: Allen: 2000, 39). Consequently,
we can assume that any literary text does not exist on its own, but is rather in various
ways linked with other literary texts.
Barthes further develops Kristeva’s original concept and states that:
[…] a text is […] a multidimensional space in which a variety of writings, none of them
original, blend and clash. Text is a tissue of quotations drawn from innumerable
centuries of culture […] (Barthes in Allen: 2000, 13).
The text exists only in respect to other, prior literary texts, called intertexts, with which
the new text enters into a discourse. Literary plots, genres, stylistic devices, different
cultural symbols and images, methods of narration and many other aspects of a literary
work already existing in the literary tradition become a part of new text. (Allen: 2000,11) In this way a new literary text is always enriched by its intertexts which
complement the new text and shape its meaning. Intertextuality, thus, can be understood
as a study of those aspects of a literary work which indicate a great dependence of both
creation and reception of a given text on the whole network of the literary tradition
(Nycz: 1995, 62 ).
Another important facet of the theory of intertextuality is strictly connected with
an active role of the reader. As “the act of reading plunges us into a network of textual
relations” (Allen: 2000, 1), a considerable competence of the reader is required. In order
to grasp a full potential of the text, the readers should be aware of the rich literary
discourse which takes place in the text. [...]
Table of Contents
Introduction
Chapter 1: Modern Castaways
Chapter 2: Terror of degeneration: Gothic markers in The Cement Garden
Chapter 3: Parody of a Bildungsroman
Conclusions
Research Objectives and Themes
This MA thesis provides an intertextual analysis of Ian McEwan's novel The Cement Garden, examining how the work engages with literary traditions of childhood and adolescence, specifically through the lenses of Gothic fiction and the Bildungsroman.
- The intertextual relationship between McEwan's The Cement Garden and William Golding's Lord of the Flies.
- The utilization and subversion of Gothic conventions and the "modern wasteland" setting.
- The parody of the Bildungsroman and the theme of failed initiation into maturity.
- The psychological and moral implications of isolating children from societal influence.
- The role of the adolescent narrator in conveying themes of decay and emotional detachment.
Excerpt from the Book
CHAPTER 1: Modern Castaways
Intertextuality has gained an enormous popularity in recent years, therefore various literary critics employ this modern literary theory in a variety of ways. One approach differs from another to a greater or lesser extent; however, what constitutes a steady and unchangeable foundation of the theory, is its primary focus on the discourse in which the analyzed text enters with both other literary texts – intertexts, and the complex literary tradition.
Ian McEwan’s The Cement Garden is one of the postmodern novels which evidently enters an intertextual dialogue with the literary tradition. The Cement Garden distinctly establishes connections with the tradition of, so called, island novels (Volkman, 2003, 311)1, such as Treasure Island (1883) , Swallows and Amazons (1930), The Coral Island (1857), and in particular William Golding’s masterpiece Lord of the Flies (1954) which serves as a vital intertext to McEwan’s novel (Slay: 1996, 36).
The Cement Garden continues the tradition of abandoned children who, separated from any kind of authority or guidance, find themselves in highly unfavorable circumstances which force them to fend for themselves in order to survive. What constitutes a vital foundation of that particular type of literature, is a still a relevant question of human nature. What is the real nature of a man? Are human beings naturally good or do we come to the world infested with “the germs of evil” (Pifer: 2000, 22)?
Summary of Chapters
Introduction: This chapter defines the theoretical framework of intertextuality and outlines how the thesis will explore McEwan's discourse with literary canons and generic archetypes.
Chapter 1: Modern Castaways: This section analyzes the connection between McEwan’s novel and the "island novel" tradition, focusing on the parallels between the orphaned siblings in The Cement Garden and Golding's Lord of the Flies.
Chapter 2: Terror of degeneration: Gothic markers in The Cement Garden: This chapter investigates how McEwan employs Gothic elements, such as the decaying setting and the "macabre" home environment, to highlight the family's psychological deterioration.
Chapter 3: Parody of a Bildungsroman: This chapter explores how the novel inverts the traditional Bildungsroman structure, presenting a narrative of regression and failed maturity instead of the usual journey toward adulthood.
Conclusions: The final chapter synthesizes the arguments, confirming that The Cement Garden serves as a postmodern critique of traditional literary notions of family and moral development.
Keywords
Intertextuality, Ian McEwan, The Cement Garden, Gothic Fiction, Bildungsroman, Childhood, Adolescence, Lord of the Flies, Human Nature, Modernism, Postmodernism, Literary Criticism, Psychological Novel, Regression, Urban Decay.
Frequently Asked Questions
What is the primary focus of this thesis?
The thesis focuses on the intertextual analysis of Ian McEwan's novel The Cement Garden, examining its relationship with literary traditions of childhood, Gothic fiction, and the Bildungsroman.
What are the central themes discussed in the work?
The central themes include the influence of literary traditions, the nature of human evil, the impact of social isolation on children, and the subversion of generic archetypes.
What is the main research question of the thesis?
The research explores how The Cement Garden enters into a discourse with generic literary traditions to provide a modern, often shocking perspective on human nature and the process of growing up.
Which scientific methods are employed?
The author uses a literary-critical and intertextual approach, comparing McEwan’s work with classic and canonical literature such as Golding’s Lord of the Flies and Gothic tropes.
What is covered in the main body of the work?
The main body examines the novel's connection to "island" stories, its usage of Gothic imagery (such as the crumbling house and cellar), and its role as a parody of the Bildungsroman genre.
Which keywords characterize the work?
Key terms include intertextuality, psychological distortion, modern wasteland, Gothic conventions, adolescent regression, and moral indifference.
How does McEwan subvert the Gothic genre?
McEwan avoids the supernatural and traditional "high" style of Gothic literature, replacing them with a clinically detached, unemotional narration that makes the everyday horrors more disquieting.
How is the ending of the novel interpreted in the thesis?
The ending is viewed as fundamentally ambiguous, as it is unclear whether the intervention of authorities provides real salvation or merely draws the children into a broader, equally empty and "cement-like" societal world.
- Citation du texte
- Anna Wilczewska (Auteur), 2011, Reflections upon Childhood and Adolescence - Intertextual Dialogue in "The Cement Garden", Munich, GRIN Verlag, https://www.grin.com/document/211607
