l-iad Barthalm a's work as an a llegory of theories o£ dialogue (Chapter

One), of th e o ries of the sub ject (Chapter Two), of theo ries o f space and

language (Chapter Three), o f the fragment and the commodity (Chapter

F our), and, f in a l ly of theories o f a llegory i t s e l f .

But, as Jonathan C uller argues, i f the te x t a lleg o i(c a lly a n tic ip a te s i t s

own in te rp re ta t io n , c rit ic ism , fa r from mastering the te x t , gets caught

ttp in an ongoing tautology:

De Man's adage th a t l i t e r a r y language p refigures i t s own mis­understandings is in p a rt a claim th a t te x ts demonstrate a lle g o r ic a l ly the inadequacy o f possib le in te rp re ta t iv e moves- the moves th a t th e ir readers H ill make.961

I f a llegory is a supplement, as Owens has s ta te d , i t is a p o s tsc r ip t '.hat

finds i t s e l f inscribed inside the te x t to which i t was apparently added

(A 1 69). The te x t exceeds i t s own supplement. Culler:

Any reading involves p resuppositions, and the te x t i t s e l f . . . w ill provide images and arguments to subvert those p resuppositions. The te x t w ill carry signs of th a t d ifference from i t s e l f which makes exp lica tion in term inable.861

C u ller is not the only one who fea rs th a t commentary can go on forever;

th e same apprehension motivates Q u llligan 's need to keep n a rra tiv e a l le ­

gory and a lleg o re s is apart. Yet no m atter how long commentary goes on,

i t w il l never catch up w ith the te x t, not because the l a t te r possesses

some inexhaustible mystery, but because the te x t so accommodatingly en­

ac ts any common- we might make on i t . Texts are double, lik e a llegory -

d if f e re n t from themselves, o ther a t th e ir core, by v ir tu e o f the in te r ­

p re ta tio n inside and outside them. That is the reason why Barthelme's

te x ts so o ften read as parodies of a p a rticu la r c r i t ic a l paradigm: the

te x t always exceeds (outdoes) I t s cosmentary. Simply, a llego ry is the

ru in of theory.

W alter Benjamin must be the w riter who has speculated most p o e tic a lly on

a llego ry , 'nd when he a r tic u la te s a theory of a llego ry , i t i s a lso a

m editation on ru in s . The symbol, w rites Benjamin, " ca tego rica lly in s i s ts

on th e in d iv is ib le un ity o f form and content" (OQTD 160); while a llegory ,

on the o the r hand, fra c tu re s such neat un ity , fo r i t s signs are always

a rb it ra ry (In a llegory anything "can m-an absolute ly anything e lse" , OQTD

175), and fragmentary ("in the f ie ld of A llegorica l in tu i tio n th e image

i s a fragment, a rune", GGTQ 176). A llegorical ob jects a re "incomplete

and im perfect" (OGTD 186). Strange objects r fared with fur? frag trishes?

Famously, Benjamin declares: "Allegories are , in the realm of thoughts,

what ru ins are in the realm of th ings" (OSTD 172). Things and thoughts,

ideo log ies and signs a te a l l pulverised by a llegory . Should we be sur­

p rise d th a t Barthelm e's work tends towards decomposition and verbal de­

ft r£sum^ o f what Benjamin sees as c h a ra c te r is t ic a lly a lleg o r ic a l reads

lik e a r o l l - c a l l of Barthelme's concerns and techniques. (In the f i r s t

p a rt o f "The A llegorica l Impulse" Craig Ouans roads postmodernism through

Benjamin's work on a llegory A 1 , I am Indebted to h is discussion of

bo th .) What makes the theory of a llegory hold so well fo r the whole of

Barthelm e's w ritin g , paradoxically , is th a t i t is a theory o f fragmenta­

tio n : both "about" fragmentation and fragmented in i t s e l f . Benjamin, for

example, never completed the work on Baudelaire which was to have con­

summated h is study of a lleg o ry ,1,3 At the end of The Origin o f German

Tragic Prams he wrote th a t the " s p i r i t o f allegory" conceives "from the

ou tse t as a ru in , a fragment11 (OGTD 235).

Allegory is f i r s t and foremost about signs, Z elclienallegorle (sign-

a llegory) (OPTS 163). And i t is language, above a l l other s ign systems,

th a t concerns a llego ry , language "heavy w ith m ateria l disp lay" (OGTD

200), A llegory accords w riting p r io r i ty over speech (OGTD 175, 206); i t

is e sse n t ia lly graphematic. Moreover, i t tends to decompose w riting into

congeriesi "language is broken up so as to acquire a changed and in te n ­

s if ie d meaning in i t s fragments" (OGTD 208). L e t te rs , anagrams, iso la ted

phrases, "the pa ttern o f the words on the page" (OGTD 215) assume an im­

portance th a t far outweighs th e ir s ign ificance in ordinary communication.

< ^ e lite 's w riting exemplifies both th is ub iqu ity of the w ritten word

and th is fasc ina tion with i t s m ateria l charac ter. The Dead Father can

be reduced to a sing le emblem: the mirror w ith the sing le word

"m urderinglne. inscribed in a fine th in cursive" <.DF 46); h is other te x ts

sometimes d is in teg ra te in to d if fe re n t typefaces ("Brain Damage", CL, for

example), o r in to typographically marked segments ("The Genius", S and

"Views of My Father Weeping", CL are punctuated by bold black dots; "The

Temptation of St. Anthony", S by bold lin e s , fo r example). What about

the typew ritten typeface of "That Cosmopolitan G irl" (GP), w ith i t s

grapnematic Joke" " I f you didn1t spend a l l your time . . . I ta l ic i s in g every

th ird word in your sentences . . . " (GP 16). Punctuation marks can be used

ico n ica lly :

I make fireworks fo r you:*1*1 )*! !*( 1*1* and * * ( A 171).

Or they can in sp ire reverie:

The a s te r isk (from the Greek asteriskos or small s ta r ) presents i t s e l f in c la s s ic a l mythology as the sign which Hera, enraged by yet another o f Zeus's manifold in f id e l i t i e s , placed on the

god's brow while ho s le p t, to remind him when he gazed in the m irror in the morning th a t he should be somewhere e lse (GP 13),

(The la s t obviously incorporates qu ite a few a lleg o r ic a l t r a i t s , from

mock-etymology to mythological g lo ssing .) The typographical look of a

Barthelme te x t is very o ften a su f fic ie n t b asis fo r specu la tion about i t s

fragmentary character: i t s b rev ity , i t s e l l ip s e s , i t s blanks, i t s in te r ­

rup tions, a l l immediately v is ib le ra the r than Ju s t le g ib le , Q uilligan,

too , claims th a t a llegory forces i t s reader to look a t words and le t te rs

ra th e r than Ju s t read them (LA 67-68).

Allegory makes le t te r s emblematic, but i t a lso tu rns p ic tu res in to te x ts .

Benjamin observes th a t in "(the context o f a llegory] . . . every image is

only a form of w ritin g , . . . the image is only a signature . . . " (OGTD 214).

Peter S c a tte rp a tte r 's Manual is in te rspersed w ith indecipherable l i t t l e

woodcuts th a t look lik e f lo r id ly decorated c ap ita ls but are n o t. The

sign ificance of th e ir h e ra lid ic contortions has been e n tire ly lo s t : they

seem vaguely bawdy, but they have no re a l meaning. The s lid e from verbal

to v isua l i s concisely demonstrated by the question "Who w ill obtain

Eugenie Grandot'a hand?" (GP 21), which is followed by the words "Eugenie

G randet's hand:" end a trac ing of an actual hand, reduced to f i t easily

on the page, an instance of v isua l lit e ra ln e s s (GP 22). Allegory has a

specia l a f f in i ty fo r the rebus, Benjamin no tes , and he c ite s a useful

d e fin i tio n of the term: "to w rite w ith concrete images (rebus) instead

of le t te r s " (OGTD 169).161

As fa r as w riting w ith concrete images goes, th e re is the handful of

p ic tu re s to r ie s ' "A Nation of Wheels" (GP), "The Expedition" (GP),

"Eugenie Grandet" (GP), "Brain Damage" (CL), "At the Tolstoy Museum"

(CL), "The F l ig h t o f Pigeons from the Palace" (5 ), as well as te x ts in

which p ic tu res play a p a rt: "The Photographs” (GP) and "That Cosmopolitan

G ir l1' (GP), or the two black box dialogues ("The Explanation" and

"Kier, agaard Unfair to Sclilegel", CL). Sebusss they a re , c e r ta in ly , but

in a second- or even third-hand pictography. Barthelme's use o f V ictorian

engravings lo r whimsically dreamlike collages s trongly re c a lls Max

E rn s t 's work. One Semaine da Ponte for example,1,6 bu t E rn s t 's sa d is tic

dismemberment o f s im ila r engravings must have had a very d if fe re n t e ffec t

in i t s tim e, when the ideo log ical system embodied in those images s t i l l

had some sway, E rn s t 's sc iss io n was an aggressive a c t against the p ic ­

tu res and th e ir values, and by pasting them together in unexpected ways,

he allowed everything th a t had been repressed from them, in the f i r s t

instance , to seep back. Barthelme, on the contrary, has inhe rited th a t

p a rtic u la r im age-repertoire from the S u rre a lis ts , and in h is hands, the

V ic torian iconography seems merely qua in t, a nosta lg ic pastiche of a once

daring gesture.

Craig Owens s ta te s : "A llegorical imagery is appropriated imagery; the

a lleg o r ise does not invent images but confisca tes them" (A 1 69). As Ju s t

one instance of the appropriating impulse in postmodernist a r t , one could

c i te the photographs of o ther works of a r t produced by Sherrie Levine,

who coolly e xh ib its a photographic reproduction (and reduction) of one

of Egon S ch ie le 's to rtu red s e lf -p o r tr a i t s under the t i t l e S e lf -P o r tra it

A fter Egon Sch ie le , " " Barthelme1' p ic tu re te x ts are no d if fe re n t,

Such a recycling of hollow Images and meaningless ob jects is ty p ic a l of

a llego ry . Benjamin w rites of

the overbearing o sten ta tion , with which the banal ob ject seems to a ris e from the depths of a llegory is soon replaced by i t s d isconso la te everyday countenance; . ■. the profound fasc ination of the s ick man (Benjamin's melancholy a lleg o r is t] fo r the iso la te d and in s ig n ifica n t is succeedodby [the] disappointed abandonment o f the exhausted emblem . . . ( OOTB 185).

He adds: "But the amorphous d e ta ils which can only be understood keep

coming up" (OSTD 185). At the same tim e, a llegory does not endow objects

with a superabundance of meaning. Allegory ac tu a lly drains things of

th e ir s ign ificance; i t "betrays and devalues th ings"; i t does "not so much

. . . unveil m ateria l ob jects as . . . s t r ip them naked" (OGTO 135), I t is

unnecessary to rec ap itu la te the ro le of o b jec ts , fe tish es , and commod­

i t i e s in Barthelmo's w riting , or in postmodernism, but th e re is a r e ­

markably apt fragment from Benjamin's incomplete work on Baudelaire; "The

devaluation of ob jects in a llegory is surpassed in the world of objects

by the commodity. The emblems retu rn as commodities (my emphaajs).*5’

And, one is tempted to add, the commodities re tu rn as emblems (Warhol),

Molesworth, Couturier and Durand as major commentators on the work of

Barthelme fee l the necessity to remark on the mysteriously melancholic

a ffe c t th a t h is work so often describes or induces, an a ffe c t th a t cannot

be explained as a re su l t o f what a part< 'U lar te x t rep rese n ts ., e 9 Again,

Benjamin provides an answer; " . . . the only pleasure the melancholic p e r­

mits h im self, and i t i s a powerful one, is allegory" (OPTS IBS), Not only

i s melancholy linked to a llegory , a llego ry , in Barthelme's case (Sad­

n e ss !) , becomes a form of melancholia,

Why? Benjamin suggests th a t allegory is haunted by the ephemerality of

things and s ig n s , and tr io s to make them endure, even though th is see.ns

Impossible. "For an appreciation of the transcience of t h u ^ i , and the

concern to rescue them for e te rn ity , i s one o f eha strongest Jjapu^ses of.

a llegory" (00TB 223). Ha notes "allegory e stab lished i t s e l f most perma­

nently where tran s Ito rin e as and e te rn ity confronted each otner most

closely" fQGTD 224). Benjamin's language may seem unduly metaphysical

("e te rn ity 11?) fo r a phenomenon lik e postmodernism, yet postmodernism,

lik e the a llegory Benjamin describes, is caught between denying presence

and confirming absence.

Recently, Jean Baudrilla rd has speculated on the disappearance and reap­

pearance o f a r t in a postmodern e ra : " I t would be more exciting for me

to find something beyond the vanishing po in t: a hypers lim itation which

would be a type of disappearance beyond disappearance. . . . I f only art. could

accomplish th e magic a c t of i t s own disappearance! But i t continues to

make believe i t is disappearing when i t is already g o n e " .'6' Dead, but

s t i l l w ith u s, a r t i t s e l f should vanish, ye t stubbornly remains. Or i t

should provide permanence, but instead i t disappears, Postmodern a r t is

l ik e Edward Lear, in Barthelme's sto ry "The Death of Edward Lear":

Hr. Edward LEAR Nonsense W riter and Landscape Painter Requests Che Honour of Your Presence

On the Occasion of h is DEMISE.San Remo 2.20 a.m.The 29th of Hay Pleasa rep ly (GD 99).

The s to ry ends as follows:

The death of Edward Lear became so popular, as time passed, tha t rev ivals were staged in every p a rt o f the country, w ith con­side rab le success, The death of Edward Lear can s t i l l be seen, in the sm aller c i t i e s , in versions enriched by learned in te r ­p re ta tio n , tex tu al emendation, and changing fashion (GD103-104).

Yot in the a idsc o f th is coneinually eastaged disappaarance, an inexp li­

cab le presence lingers! '"One m odification is curious; no one knows how

i t came about. The supporting company plays in th e t ra d i tio n a l way, but

Lear him self appears shouting, shak'ng, rib rsne with rsga" (OB 10*).

My choice of a te x t dealing with death as an a llegory for what one could

c a l l the " transpearance"*" of contemporary a r t , tonrhes on another a s ­

pect o f a llego ry . Benjamin re la te s a llegory to death! the arch-

a lle g o r ic a l emblem is the d e a th 's head, the sk u ll fOGTD 166). No wonder,

because a llegory comes in to existence when a e s th e tic t r a d i tio n is dead.

(Owens claims th a t "allegory f i r s t emerged in response to a . . . sense of

estrangement from tra d i tio n A 1 68.) Postmodernism has proclaimed

many deaths - o f the novel, of cap ita lism , of the sub jec t, o f a r t , of the

f a th e r , of n a rra t iv e , of meaning. Even a f te r the "bulldozers" have been

c a lle d to bury the Dead Father, postmodernism s t i l l goes on, a t the end

of h is to ry . Benjamin describes the a lleg o r ic a l view o f h is to ry as "a

p e tr i f ie d , p rim orid ia l landscape" (0§TD 166); Baudrilla rd p ic tu res "the

a es th e tic s o f ru in s" as "a stage se t in another s e t" and adds th a t the

"ac to rs have disappeared, only the backdrop and p a rts o f the stage se t

remain! 171 Of course, th a t p e tr i f ie d landscape and those empty se ts

are fam ilia r to Barthelme's readers: they are the hetero top ias we have

considered in Chapter Four, or the c ity w ith i t s "Avenue Pommard" and i t s

"Boulevard G ris t" (DF 4) where the Dead Father l ie s .

Benjamin even finds a link between a llegory and ghosts th a t is most ap­

pro p ria te fo r The Deed Father. "Views of My Father Weeping" (CL), or

"Cortee and Montezuma" (A), which ends w ith the ghosts of the two figures:

"Ghosts, lik e the profoundly s ig n ific an t a lleg o rie s , are m anifestations

from the realm of mourning; thay have an a ff in i ty for mourners, fo r those

who ponder over signs end over the fu ture" fOOTD 19

But even where a llegory preserves, i t fragments and cMnges, Benjamin,

w rites o f how, once the C hristian church had a ffe c tiv e ly dispaaed of

paganism, Greek and Roman myths lingered on, preserved by a lleg o r ic a l

commentary, a commentary which str ipped those myths of whatever meanings

they might i n i t ia l ly have had COGTD 223-226). (Benjamin uses the

f e lic ito u s term "vaporisation" to describe the process o f de­

s ig n ific a t io n , 08TP 223.) Hence, perhaps, the simultaneous decomposition

and p reservation of pa triarchy in a te x t lik e The Dead Father . More,

a llego ry , a t le a s t baroque a llegory , has i t s o rig in s in misreading: the

misunderstanding of Egyptian obelisks (OSTD 168-169), Benjamin even

claims th a t baroque T rauersplel was on unconscious decons ruction of

c la s s ic a l tragedy, desp ite i t s overt p ro jec t to preserve the mode. I t

was not only a crea tive m isprision of the te x ts themselves, i t was also

a misreading of the c r i t i c a l , o r l i t e ra ry th e o re tic a l discourse th a t had

form alised and accompanied c la s s ic a l tragedy, namely A ris to t le 's Poetics

(OGTD 18B-189). Baroque tragedy, in i t s a lleg o r ic a l form, iso la te d the

codes of c la s s ic a l tragedy, deprived them of meaning, and then randomly

agglomerated them: ’’For in the theory of 'tragedy1 th e ru les o f ancient

tragedy are taken separa te ly , as l i f e le s s components, and p ile d up around

an a lleg o r ic a l figu re , the trag ic muse" COGTD 183). Barthelm e's te x ts

do something sim ila r: in "Views of My Father Weeping" a l l the co rrec t

Oedipal elements are there - a fa the r who has bean k ille d mysteriously,

a process of de tec tion to uncover the t .x th of the f a th e r 's death, a

c u lp r i t who has the same name as the self-appoin ted d e tec tive , who is also

the son of the dead man • but these elements are a ltogether in the wrong

order, as though they had bean scrambled and randomly se lec ted . The tex t

amassed. Equally, on a c r i t ic a l le ve l, Bartlielms'a tex t; both support

l i t e r a r y models and undermine or fragment them: r e c a ll the d if f ic u l ty of

describ ing how the code of p roaire sia was both working and breaking down

in Barthelm e'a w riting .

When one tu rns to the ch ief products o f the postmodern a lleg o r ic a l im­

pu lse , one finds th a t ao st of the works d ..scribed as a lleg o r ic a l are

p a ra s i t ic upon ocher taxes tlisy destroy- Famously, Robert Rauschenberg

erases a drawing by William de Kooning: the Erased de Kooning Drawing

(1953) is the paradigm of a l l postmodern a lleg o r ie s . Marcel Broodthaers

produces te x ts which perfec tly duplicate the typographical layout of

MallarmS’s Un Coua de Dae, but which tu rn the lines o f Mallarme's verse

in to nothing more than geometrical lin ea , We have seen, a t some length

how Barthelme reduces or erases h is predecessors and p re te x ts .

Because agglomeration i s the favoured a lleg o r ic a l construction , the

s tru c tu re of allegory is o ften described as p a ra ta a tic . (OOTP 178, 186;

&A). l.van erhsn a llego ry uses the quest-form, as i t v ity o ften does, the

quest becomes a Journey in to "inconclusiveness" as Q u illijan c a l ls i t

(LA 13), because a llegory can always add another episode or fragment.

Q uilligan , fo r example, shovs hov fiv e o f her pa/adigmfltic a lleg o r ic a l

te x ts • The Faerie Oueene, The P ilg rim 's Progess. M elv ille 's The Confi­

dence Han, and Pynchon's Tlia Crying of Lot 49 and G rav ity 's Rainbow -

e i th e r end "before the apocalyotic explosion o f meaning", or "(fade) inCo

b i t t e r inconsequentia llty , incomplete", o r promise "something further"

as The Confidence Man does (LA 220). Equally, The Dead Father ends with

''bu lldozers" (OF 177), an iso la ted word of which the rh e to r ic a l s ta tu s

is uncertain : I s i t consts tive , describing the a rr iv a l of the instruments

o f de stru ctio n , o r i s i t im perative, e command fo r the bulldozers to ap­

pear? Everything is Inconclusive, ju s t as the datached sec tion e t the

opening can bo e ith e r beginning or ending.

L as tly , Benjamin po in ts out th a t the "esotericism " of a llegory is linked

to a s tr iv in g for "general comprehensibility" (OGTD 172), one of the most

astounding examples of a lleg o r ic a l double-talk , So, exac tly , B artheice 's

work i s accessib le , o;: "readable" as opposed to "w riterly" [as I argued

in the previous chap ter), w hile a t the same time i t is "unreadable", in

de Han's term. Like a l l a llegory , postmodernist works a te a t once popular

and in d e tam ln s ts : Warhol, Burroughs, Anderson, even the reasonably wide

d issem ination of poststruc turalism , or the media s ta tu s of D errida. And

Barthelme, o f course,

As a l i t t l e a llegory of a llego ry , take th is passage from Barthelme's

"H enrietta and Alexandra":

As a designer of a r t i f i c i a l ru in s, Alexandra was well-known.Sha designed ruins in the manners o f Langley, E ffner, Robert Adam and Carlo Marchionni, as w ell as her own manner. She was working on a ruin for a park in Tempe, Arizona, consis ting of a ruined w all n icely d is in teg ra ted a t the top and one end, two c la s s ic a l columns uptight and one fa lle n , vines and a number o f broken urns. The urns were d i f f ic u l t because i t was necessary to produce them feSm in ta c t urns and the workmen a t the s i te were often reluc tan t to do violence to the urns. Sometimes she pretended to lose her temper, "Hurl th a t bloody urn, Umbertol" (OTMDC 84).

That is a p e rfec t summary of a llegory both in Barthelm e's work and in

postmodernism. F i r s t , th e re is the estrangement from tra d i tio n th a t leads

to the production of a r t i f i c i a l ruins ( in Tsmpe, Arizona, o f a l l p ieces).

Time no longer has meaning: i t is frozen, i t cannot produce ruins any

mote) i t needs to be supplemented by the simulacrum. What b e tte r simu­

la tio n than a brand-now ruin? There is ths omnipresence of pastiche -

a l l postmodern w ritin g , a r t or ru ination , lik e A lexandra's e f f o r t , is ,

to some degree " in the manners o f". Then, ws have th e ubiquity of frag­

mentation: "n ice ly d is in teg ra ted" can stand as a motto fo r the whole of

Barthelm e's work. (An a r t i f i c i a l ru in , of course, has never been whole)

i t has been decomposed a t i t s o r ig in .) Not the le a s t fragment is th is

v ig n e tte i t s e l f , which bears l i t t l e re la tio n to the r e s t o f "H enrietta

and Alexandra". F in ally , the broken urn is yet another commodity, which

paradoxically gains value only when broken, only when made in to debris .

An urn is a p a rtic u la rly weighty emblem in Western iconography as i t

stands fo r death (the funeral urn) as well as fo r a r t (K eats's Grecian

u rn , w ith i t s l i t t l e message on a e s th e tic s ) . A llegory brings a r t and

death , icon and disappearance together.

The w ell wrought urn” ’ of New Criticism lie s sh a tte re d , and in i t s

fragments one reads something novel, something never fa r from pastiche

and never e n tir e ly divorced from fashion, but something p leasurable nev­

e rth e le s s . As we have seen, B audrillard says th a t a f te r a l l th e permu­

ta tio n s and e laborations o f contemporary s e t , i t s so le recourse now is

to disappear, But th a t is e as ie r sa id then done. The only thing to do

in the in terim , before i nat endlessly deferred disappearance, is to make

the process as spectacu lar as possib le: Hurl th a t bloody urnl

Benjamin w rites th a t " i t is common p rac tice [ in a llegory] . . . to p ile up

fragments cease le ssly , without any s t r i c t idea o f a goal . . . in the un­

rem itting expectation of e m iracle . . . " (OGTD 178). Barthelme answers:

"Strings o f language extend in every d irec tio n to bind the world in to a

rushing, r ib a ld whole" (UPUA 11). To account fo r hla s tr in g s of language,

the reader has to ransack contemporary theory , but only w ith the theory

of a llego ry does the reader sense the possib le emergence, or b e tte r ,

transpearance of a "rushing, r ib a ld whole".

By th is s ta g e , we have rea lise d th a t th is whole is not anything like

a es th e tic un ity or any of the old sh ibboleths. A llegories make wholes

th a t a re never complete, th a t are "subject to the law of 'd isp e r sa l ' and

'c o lle c ted n e ss1" (OGTD 168), because they come to ;e th e r in d ispe rsa l

alone. Perhaps the best model o f allegory is the Wunderkanuner. th a t

marvellous and open-ended co llec tio n of unique and w orthless ob je c ts .* 71

Allegory gives a comprehensive overview only because i t acknowledges th a t

whatever m iracle lu res us, i t remains fo rever outside our grasp, a f ra g ­

ment, a s tr in g of language away.

t a l (New York: Columbia UP, 1980) 18.

6 Benjamin, German T raeie Drama 28.

1 Benjamin, German Tragic Drama 28-29.

I Benjamin, German Tragic Drama 29,

* Benjamin, German Tragic Drama 28,

8 Benjamin, German Tragic Drama 29,

II George S te in e r, in troduction , German Tragic Dra

11 do Antonio and Tuchman, Painters PalntL-g 131.

tX '

See, fo r example, Charles ftolesvorth, Donald Barthelm e's F iction ; The I ro n is t Saved from Drowning. L ite ra ry F ron tiers (Columbia i U of Missouri P, 1SS2) 25-26.

Jan MnkaFovsky, "Two Studies of Dialogue” , The Word and Verbal A rt. ed. and irons, John Burbank and Peter S teiner (New York: Yale CP,

C hristine Brooke-Rose paraphrases and summarises Roman Jakobson1s argument. See C hristina Brooke-Rose, A Rhetoric o f the Unreal: Studies in N arrative and S truc tu re. Especia lly of the F antastic (Cambridge: Cambridge UP, 1981)22. See a lso Roman Jakobson, "Lin-gu is tic s and Poetics: Closing Statement", Style in Language, ed.Thomas Sebeok ( L c n d o n : T o h r . w i 'e j , i960)

The Concise Oxford D ictionary. 4th ed. 1951

Koir Elam, The Semiotics o f Theatre and Drama (London: Methuen, 1980)104-105.

For a d e fin i tio n o f "isotopy", see Elam, Semiotics 184, and Umberto Bco, A Theory of Semiotics (Bloomington: Indiana UP, 1976) 142.

Roland B arthes, Roland Barthes, tran s . Richard Howard (New York: H ill and Wang, 1977) 166.

Regis Durand, "On Conversing: In/On W riting", Sub-Stance 27 (1980):

See Jean B audrilla rd , "The Ecstasy o f Communication", t r a n s . John Johnston, Postmodern C ultu re , ed. Hal Foster (1983; London: PlutoPress, 1985) 126.

H.P. G rica , "log ic and Conversation", Speech A cts■ Syntax and Seman­t i c s , 3 v o ls . , ed, Peter Cole and Je rry L. Morgan (New York: Academic Press, 1975) 3:45 qtd in Shoshana Felraan, The L ite ra ry Speech Act: Don Juan with J . L. A ustin, o r Seduction in Two Languages, trans. Catherine Porter (Ithaca: Cornell UP, 1983) 132.

G rice , "Logic and Conversation" 45, q td . in Elam, Semiotics 171.TUe tc*fc I tse lf , w as n a v a l l«b le , e n d E le t-nand Felm en d i j^evenb S e c t io n s fy-ew b i* s e w e pc ige e f “ Logic am

G rice , "Logic and Conversation" 45-46, paraphrased in Elam, S ,mlotlcs

Hukarovsky, "Dialogue" 87.

Muka?ovskf, "Dialogue" 87.

Capitalism ", L eft Review 146 (1984): 58.

K arl, American F ictions 1940-1980: A Comprehensive His-

G iorgione", The Renaissance (London:

Daniel Leuwers, no tes, Poesies by Stephana Mallame (Paris: La Livre de Poche, 1977) 335.

Hallarm^, Podsles 76,

Jncquos D errida, "Limitac' Inc sbe tra n s . Samuel Ueber, GlyphII (1977): 164.

D errida, "Limited'' 164,

"The supplement Is th a t which both s ig n ifie s the lack of a 'p resence1, o r s ta te o f p len itude for ever beyond re c a l l , and compensates fo r th a t lack by s e ttin g in motion i t s own economy of d ifference" , w rites Christopher N orris. Christopher N orris, D econstruction: Theory and P ra c tice (London: Methuen, 19u2) 37.

Roland B arthes, The Pleasure of the Text, tra n s . Richard M iller (New York: H ill and Wang, ’075) 9,

Jacques D errida, Dissemination Crsns. Barbara Jchnscn (Chicago: Uof Chicago P, 1981) 206.

Samuel B eckett, The Unnameable, The Beckett Trilogy (London; Picador, 1960) 362.

For a discussion of anaphora in Bartheim e's w riting , see Sally Allen NcNall, '"B u t Why Am I Troubling Myself About Cans?' I S ty le , Reaction and Lack of Reaction in Bartheime's Snow White" . Language and Style 8 (1974) : 81-94.

Barthes, Pleasure 41.

Durand, "Conversing" 41.

Rosalind Coward and John E ll i s , Language and Materialism: Develoaoments in Semiology and the Theory o f the Subleee (Sondon: Routledge aivd Kegan Paul, 1977) 56-60.

Karl Marx, C ap ita l. 3 vo ls. (London: Lawrence and K ishart, 1974) 1:88, q td . in Coward and E ll i s , Language and M aterialism 58,

BaudriU ard, "Ecstasy" 131.

S09 Jurgen Habermas, "Modernity - An Incomplete P ro jec t", Mans. Seyla Ben-Hablb, Postmodern C ultu re . Saa a lso Andreas Huyssen, "Happing the Postmodarn". New O ermanCritiaue 33 (1984) and Frederic Jameson, "The P o litic s o f Theory: Ideological P ositions In thePostmodernism Debate” , New German Critique 33 (1964),

G rice , "Logic and Conversation", Elam, Semiotics 172-176. See also Telman, L ite ra ry Speech Act 133.

Jacques Derrida, "Signature Svent Context", tra n s . Je ffrey Mehlman and Samuel Ifeber, Glyph I (1977) 185-186.

D errida, "SEC" 180.

Elam, Semiotics 139.

B arthes, Barth&s 166,

Johr R. Bearle, "R eitera ting the D ifferences! A Reply to D errida", fllygh I (1577): 301,

N orris, D econstruction 112.

Discussed in Brooke-Roso, Rhetoric 22*23,

Elam, Semiotics 139,

Maurice C outurier and R^gis Durand, Donald BartheJma. Contemporary W riters. (London: Mothuen, 1982) 64.

Couturier and Durand, Barthelme 64.

David Poruah, The Soft Machine: Cybernetic f i c t i o n (New York: Methuen, 1985) 201,

Porush, S o ft Machine 200-201,

Porush, Soft Machine 201,

Porush, Soft Machine 201.

Elam, Semiotics 13.

Elam, Semiotics 142,

Elam, Semiotics 142.

K arl, American F ictions 396.

K arl, American F ictions 396.

Betty Flowers, "Barthelme's Snow White: The Reader* Pa tien t Re­la tio n sh ip " , C ritique 16.3 (1975): 37,

Couturier and Durand, Barthelme 77.

Both c ita t io n s from Mmile Bsnvsnists, Problems In General L in g u is t ic s , tr a n s . M.E. Meek (Coral Gables, F lo rida , U of Miami P, 1971) 236, qtd , in Felman, l i te r a r y Speech Act 20.

A ustin, John L. How to So Things with Words (London: Oxford U P,1962).

Couturier and Durand, Barthelme 64.

A ustin, Words, 136,

Carl Malargren, "B arthes's S/2 and Batthelme's 'The Zombies': ACacographic In terrup ta tion of a Text", PTL: A Journal o f Deacrlptlve Poetics and Tlieory of L ite ra tu re 3 (1978): 212,

D errida, "SEC" and "Limited" 172-197 and 162-254.

D errida, "Limited" 236,

D errida, "Limited" 236,

D errida, "Limited" 200,

" . . . I decide here and from th is moment on to give the presumed and c o llec tiv e author of the Reply the French name ' SociAti a responsab ilitd iim itda ' - which is normally abbreviated to S ari" (My

e l l i p s i s , D errida 's emphasis), D errida, "Limited" 170.

The delusion th a t a l l quotations can be traced to an o r ig in is pe r­petuated in the present instance. This note a t Ig&t, i s anl.- fe lic ito u s perform ative. "In f lag ra n t v io la tio n of the Copyright

C outurier and Durand, BerthaIma 49.

Roland Berthes, A Lover's Discourse: F raanants. trana . Richard Howard (London: Jonathan Capa, 1979) 149,

Jean B audrillord, Simulacrse e t Simulation (P a ris : E dition G allil^ a , 1981) 52, qtd , and tran s . in Hal Fos ter, "Subversive Signs'1, Art in America 70.18 (1982): 92.

Huyssen, "Mapping the Postmodern" 37-38.

K lm bw itB , D isruptions 207. His use of the verb "to deconstruct" s tr ik e s one as g lib , given h is p ro c liv ity fo r the meaningful voice: w riting of "The Zombies" he claims th a t "language deconstructs Into simple rhythm", K linkouits, Disruptions 210.

Molesworth, Barthelme 36.

Jan Kukaiovskjf, "Two Studies of Dialogue," The Word and Verbal A rt. ad. and tran s , John Burbank and Peter S teiner (New Haven: Yale UP,

Roland Barthes, 8/Z, tran s . Richard M iller (New York: H ill and • 1974) 178-179.

Frederic Jameson, "Postmodernism, or the C ultura l Logic of Late Capitalism ," New Left Review 146 (1984): 63-64.

R. E. Johnson J r . , " 'B ees Barking in the N ight1: The End and Begin­n ing of Donald Barthelroe's N arrative", Boundary 2 5 (1976): 80.

Bakhtin, Dostoevsky 169

Roland B arthes, The Pleasure of the T ext, tran s . Richard M iller (New York! H ill and Wang, 1975) 3.

Bakhtin, Dostoevsky 185.

Bakhtin, Dostoevsky 155.

Bakhtin, Dostoevsky 1' .

Bakhtin, Dostoevsky 164.

Bakhtin, Dostoevsky 199.

Bakhtin, Dostoevsky 167.

Bakhtin, Dostoevsky 165-167. For a d iscussion of the sho rt sto ry i t s e l f as a palim psest of genres, see Kolesworth, Barthelme 10-42.

For a d e fin i tio n of " in te rte x tu a lity " . see Leon S. Roudiez, In tro ­duction, D esire in Language: A Setnlotlc Approach to L ite ra tu re andA rt. by Ju lia K risteva, tran s . Thomas Qora e t a l . (New York: Columbia UP, 1980) 15.

Rosalind Coward and John E ll i s , Language and Materialism: Develop­ments in Semiology and the Theory of the Subject (London: Routledgeand Kegan Paul, 1977) 111.

Jacques Lacan, Las Quatre Concepts fondamsntaux de la psvshanalvse.

vol. 9 of Le S&tiinalre (P a ris : E ditions du Seu il, 1973) 183, tran s .and q td . in Coward and E ll i s , Laneuege and M aterialism 112.

'La L ettra Vola'a’”, S e ries , 2 vela .

Bakhtin, Dostoevsky 176.

Bakhtin, Dostoevsky 178,

m^connalssance. see Coward and ), Antony Easthope, "Discourse as

See, fox example, Jacques Lacan, "Le Seoinalre sur 'La L ettre v o le s '",

"There i s nothing outside of the te x t [ there i s no o u ts id e -tex t; i l n 'y a pas de hoxsrtex te]" ( t r a n s la to r 's b rac k e ts ) . Jacques Derrida, Of Graamatology. tran s . G ayatri Chakravorty Spivak (Baltimore: Johns Hopkins UP, 1974) 158.

Carl Mslngren, F ic tional

£

Malmgren, Space 167.

NoleswrSh, Barthelme 34,

Maurice C outurier and fUgls Durand, Donald Barthelme. Contemporary W riters (London: Methuen, 1982) 33.

Couturier and Durand, BartheIma 34.

Bakhtin, Dostoevsky 176.

Jacques Lacan, E crlts 1:260.

Coward and E ll i s , Language and M aterialism 97.

Lacan, S c r its 260.

Jacques Lacan, unpublished seminar, q td . In Coward and E ll i s , Lan-

Cowsrd and E ll i s , Language and M aterialism 97.

Coward and E l l i s , Language and M aterialism 98.

Jacques Lacan, "Of Structure as an Inmixing of an Otherness Prereq­u is i te to Any Subject Whatever", The S tru c tu ra lis t Controversy: TheLanguages o f C riticism and the Sciences of Han, ed. Richard Macksey and Eugenio Donato (Baltimore: Johns Hopkins UP, 1972),

For an e lucida tion o f the cut-up, see "The Cut-Up Method of Brion Gysin", A William Burroughs Reader, ed. John Gaidar (London: Picador,

Tha in te rre la t io n sh ip of su b je c t iv ity and meaning i s extensively discussed in Catherine Belsey, C r itic a l P ractice (London: Methuen,1980), The source of th e quotation is Belsey, C r itic a l P rac tice 78.

For a p a rtic u la rly u se fu l discussion of both "Engineer-Private Paul Klee Misplaces an A irc ra ft between H ilbertshofen and Cambrai, March 1916" and "Robert Kennedy Saved from Drowning", see Molesworth, Barthelme 18 and 65-70.

See, fo r example, Jameson, "Postmodernism" 71-75, Steven Henry Nadoff, "What ie Postmodern About Painting: The Scandinavia Lectures I I " , Arts Magazine 60.2 (1985): 02-63, and G illes Deleuze and F^lix G uattari, Anti-Oedipus: Capitalism and Schizophrenia, tra n s . Robert Hurley e t e l . (London: The Athlone P, 1984).

Jameson, "Postmodernism" 71-73. Jameson gives no source for Lacan’s d iscussion o f schizophrenia.

Sea Jean S aud rilla rd , "The Ecstasy o f Communication", Crane. John Johnston, Postmodern C ulture, ed. Hal Foster (1983; London: PlutoPress , 1985) 126.

Deleuze and G uattari, Anti-Oedipus 5.

See HcCaffery, "M otafictional Muse" 81.

Jacques Lacan, no reference provided, qtd . in Shoshana Felman, "rum ing the Screy of In te rp re ta tio n " , L ite ra tu re and Psychoanalysis: the Question of Reading: Otherwise, ed. Shoshana Folme (Baltimore: Johns Hopkins UP, 1982) 134.

Jacques Lacan, " Intervention on Transference", tran s , Jacqueline Rose, Feminine Sexuality: Jacques Lacan and the 6cole freudlenne.ed. J u l i e t M itchell and Jacqueline Rose (London: Macmillan P, 1952)

lacan , "Transference" 71.

Jacques Lacan, ta lk , brans. Barbara Johnson, Kenner Seminar, Yale U niversity , 24 Nov, 1975, qtd. in Falman, "Turning the Screw" 118.

Jean Baudrilla rd w rites:

Dans I 1In te rp re ta tio n psychanalytique elle-mehe, le "pouvoir" de 1'ln te rp rd ta n t ne lu i v ien t d'aucune Instance ex terna, roais de I 'in te rp r^ tV lui-meme, Cecl change to u t, car aux Ntenants tr ad i tlo n n e ls du pouvoir, on peut toujours demander d 'ou i l s le tiennen t. Qui t ' a f a i t due? Le ro i. Qul t ' a f a i t ro i? Dieu, Saul Dieu ne repond p lus, Hals a la question: qui t ' a f a i t psychanalysta? I 'a n a ly s te a beau jeu de repondre. Toi, Alnsl s'exprim e, par une sim ulation inverse, le passage de l'"an aly se" h l" 'a n a ly san t" , du p a s s if it I 'a c t i f , qui ne f a i t qua decrire I 'e f f e t de tournoiement de mouvance dea pSles, dm c irc u la r i ty ou le pouvoir se perd , se d isso u t, se resout en manipulation p a rfa i te , . . , (In psychoanalytic in te rp re ta t io n i t s e l f , the "power" of the in te rp re te r does not derive from any ex ternal instance, bu t from the one who is being in te rp re ted him self. This changes everything, fo r one can always ask tra d i t io n a l holders of power the o rig in s o f th e ir power. Who made you duke? The king, Who made you king? God. Only God does not answer. But to the question: who made you a psychoanalyst? the analyst can easily respond: You. Thus, by means of an inversesim ulation, the passage from "analysand" to "ana ly st" , from passive to a c tiv e , expresses i t s e l f . I t does nothing except describe the dizzying e ffe c t o f the s h if tin g of po le s , the c irc u la r ity in which power loses i t s e l f , d issolves i t s e l f , resolves i t s e l f in pe rfec t m anipulation . . . . My tr a n s la tio n .) B aud rilla rd , Simulacres a t Simulation (Paris: bd itions G alilee , 1981) 52.

Wright, Psychoanalytic Criticism 131.

Johnson, "Bees" 64,

P a tr ic ia Wsngh, H etaflctlon : The Theory and P ractice o f S elf-Conscious F iction (London: Methuen, 1984) 29.

r e s t of Molesuorth’s argument

by sa c r if ic in g any consis ten tly iqy&ard fee ling of a f in a l

Johnson, "Bees" 84-85.

Hadoff, "Postmodern Painting II"

Madoff, "Postmodern Painting I I" 64.

Barthes, S/Z 140.

Noil H ertz, "Freud and the Sandman", Textual S tra te g ies; Parsoec-

The Story o f Freud and Tausk (New York: Knopf, 1969) 92, q td . in

Felman, "Turning the Screw" 128.

1 Jacques Lacan, M erits (Paris! E ditions du trn n s . in Folmarv. "Turning the Scraw" 128.

Rabkin (OxEord: Oxtord UP, 1979).

mund Freud, "

J&TS1 9 S 3 r n : U l-153.

* Wright, Psvchoan

’ Wright, Psvchoanalv

‘ For c la r if ic a t io n , see H ertz, "Sandman"

1 H ertz, "Sandman"

0 Gregory I , Uliaar fo r th is pan, which Ulmer makes in1 discussion oE D errida. See Gregory L. Ulmer, "The C riticism ", Postmodern Culture 95.

C uller, PeconstructloB 264,

"Capitalism , Modernism and Postmodernism", Mew Left

'Sandman1' 227.

Moleswotth,

Molesworth,

Moiesworlth,

"(Post)Modern Polemics", 33 (1984)!

QuestiorFostmodet

Lyotard, tran s , Ge' Manchester UP, 1984).

"Capitalism

Fos ter, "(Postm odern Polemics"

Unger, Roland Barthesi The Protassoi: of D esire (Lincoln: U

of Nebraska P, 1983) 5

’ See Hal Foster for a discussion of H olzer's work: "Listed alphabet­ic a l ly , [the 'Truism s'] have no d iscu rsive order (indeed, they sug­gest how the a rb itra ry lurks beneath the conventional)", Hal Foster. "Subversive Signs", Art in America 70,18 (1982): 90.

' V alter Abish, "Ardor/Awe/Atrocity" and " in So Many Words", In the Future P e rfe c t(1975: London: Faber, 1984). A lphabetical A frica is discussed by Malcolm Bradbury in h is in troduction to In the Future

1 Foucault, Order xvi.

Modernist and

173-176. U nfortunately, F ictional Space came to my a tten t io n too la te to be productively Incorporated in to the analysis of space I o ffe r in th is chapter. A lengthy footnote seems the sim plest way of dealing w ith Malmgren's te x t, which maps a te r ra in s im ila r to my argument, but does so from a s lig h tly d if fe ren t angle, For Malmgren " fic tio n a l space" is a convenient h e u ris tic metaphor to cover a l l areas o f f ic ­tio n a l d iscourse, including author, te x t and reader. F ic tio n a l Space 23-30.’ The f i r s t area he id e n tif ie s is the lo c a li ty o f both ta le and t e l l e r , which he designates as te x t apace. Text space can fu rther be divided in to na rra t iv a l space, which comprises the world sig n ifie d by te x t, and which i s made up of ac tan ts (character functions) and topoi ( s e t tin g s , m ilieux). N arra tiva l space includes the s to ry or "concatunation of events and actions th a t take place w ithin the space o f the WORLD F ictional Space 35. N arra tiva l space isim aginatively ac tu slised by a reader in the course of a reading; i t corresponds broadly to what I c a l l represented space, fo r example, Berthelm e's Paraguay o r FAsriSZUM. Another domain of te x t space is what Malmgren terms na rra tlonal space, o r "the space of the speaker. . , generated by the fac t of na rra tio n " , F ic tio n a l Boace 39. Properly speaking, however, the speaker only occupies one subspace of n a rra tlo n a l space, namely d iscursive space, which in i t s tu rn can be broken down in to a syntagmatic level of "m etallngual", "ideolog­ic a l" and "perceptual" u tte rances, F ic tional Space, 41, and a lexamie level o f d e ic tic s , d ic tio n a l pa tterns and ’ modalis a t io n s, F ic tional Space 40-41,

Malmgren pays due a tten tio n to the m a te ria lity of the te x t , o r the actual space i t s 'a s c rip t io n takes up. This he c a l l iconic space. I t s function is to "draw the reader s a tten t io n to the m a teria lity of the f ic t io n a l discourse", F ic tio n al Sp :_e 45, and th e re are four levels o f icon ic space: alohalfUcI lex ica l , p ag inal, and composi­t io n a l . Obviously, iconic spade is played on and played up qu ite extensively in postmodernist f ic t io n . Cne more area remains:

the teader performs what the te x t expects of her o r him: the lacunaeof tne te x t are f i l l e d , i t s d isjunctions are normalised, ilalmgren aaao'.iates the u t i l is a t io n of paraspace with the kind of te x t th a t

, but makes i t s reader locate un ity and meaning, for exaroilo Anais N in 's Collages and William G addis's JR. (See F ic tio n a l Spat'i i2-54,6nd Chapter 3: "Making Room for the Reader: ..tper-imen . w ith Paraspace" 108-155.)

f ic t io n a l space may well re ify ws d is t in c t io n between d if fe re n t level

a dynamic process" (F ic tio n alSpace 58). The separation of n a rre t ' a l space from n a rra tio n a l seems d i f f ic u l t to ju s t i fy , p a rtic u la rly w ith reference to postmodern f i c ­tio n . Barthelrae's represented spaces are ind is tingu ishab le f r c space of the te x t th a t represen ts them: Paraguay in sim ultan ' .a p l.e e and the words th a t construct th a t p lace . In Barthel#.. , h e ter itop ias , n e rra t iv a l collapses onto n a rra tio n a l; th e re i s con- com itlnt disturbance of the rea d e r 's paraspace. The topos, in Kelmg'en's term belongs to the level o f n a rra tiv e , but in Barthelme's w r i t i g the topos is a lso an emblem of the type of narra tion : hareone c u ld c i te the "strange ob ject covered with fu r" (CBDC 14) which i s bo: h represented a rte fa c t and emblem of rep resen ta tion . Later, we slu 11 see th a t Michel Serres claims an absolute homology between discourse and spaci- in any te x t,

TEXT SPACE

fragmentation

NARRATIONAL

Ip a r a s p a c e I

Homogeneous

F ic tio n al Space

Postmodernist fiction/B arthelm e's w riting

V W W W V PARASPAGE W W A /W

m ra 1. n a rra t iv a l space is fractured by i t s represen ta tion

In Figure 2, on the o thor hand, n a rra t iv a l and narrfltional spaces becoino ind is tin g u ish ab le ; the Iconic shape of the te x t is a lso i t s n a rra t iv a l spans (Barthelme's ubiquitous mises-an-abyme■ for exam­p le ) . Icon ic , d iscursive and compositional spaces are foregrounded to the po in t o f domination. The rea d e r 's paraspace is rad ic a lly d istu rbed: see Chapter 2 (above) for an analysis of various s tr a te ­g ies deployed in Bartheline's w riting to undermine the au tho rity o f

F in a lly , HaImgten does o ffe r an examination o f various postmodernist te x ts . (See Chapter 4: "Dis-Easy Peace: Postmodernist Reoccupation o f F ic tio n a l Space", F ic tio n al Space 159-195.) His reading, 1 'ke mine, focuses la rge ly on the postmodern tendency to use any tai:on my again st i t s e l f . Malmgren finds in these te x ts e itlia r a parodically excessive overdaterroinaton of tra d i t io n a l levela of f ic t io n , or an ungrammatical scrambling of codes, or a concentration on aspects o f d iscourse usually neglected (iconic space, fo r example). However, m ag iste ria l statem ents l ik e the following seem to s igna l a conserva­t iv e bent in Melmgren's a n a ly s is : "in most instances readers attempt to supply what th e f ic t io n has l e f t ou t; they p a rtly to ta l is e even th e most non to ta lis ing n a rra tiv e . For i t i s hard to liv e w ith, much less Ju s ti fy , a species o f f ic t io n tha t seems to ta l ly unconnected with the way Vje live now", F ic tio n al Space 58.

Foucault, Order: x v iil -x ix ,

Barthelm e's "aphasia" and i t s e ffec ts on tex tual space d if fe r ra d i­ca lly from the c r i t ic Joseph Frank 's concsption of " sp a t ia l form". For Frank, " sp a t ia l form" exclusively designates the synchronic o rganisation , or "unity" of a te x t. See Joseph Frank, " sp a t ia l Form: T hirty Years A fter", S natia l Form tn N arrative 207.

16 See Andrei Bely, Petersburg, tran s , Robert A. Maguire and John 2. Molaistead (1916; Harmondsworth; Penguin, 1983), A lfred Ooblin, B erlin Alexanderolatz. tran s , Eugene Jo las (1929; Harmondsworthi Penguin, 1978), and James Joyce, Ulysses (1922; Harmondsworth:

Roland Barthes, L1empire

Barthes, L'amt

postmodern p a in te r . See C arter R a tc lif f , "lice". Artforum .2 flOflbl.

Asbbery him self uses the phrase "an absorbing puzzle" IflndsGAna Ilf h is te x t "The System". See John AshhficvAshbory, "The SystMo”,

John Ashbory, "Those Lacustrine C itie s" , Rivera and Mountains (1966;

John Ashbery, "Daffy Duck Hollywood", Houseboat Days (1975;

Edmund White, Forgetting Elena and Nocturnes for the Kin: of Naples

Elena and Nocturnes by White,

P e r lo f t, Indetarminacv 9.

"But i t is evidently a rc h ite c tu re which is the p riv ileged te r r a in of s trugg le of postmodernism Frederic Jameson, "The P o litic s ofTheory: Ideological Positions in the Postmodernism Debate", NewGerman C ritique 33 (1984): 54.

Frederic Jameson, "Postmodernism, or the C ultura l Logic of Late Capitalism ", New L eft Review 146 (1984): 83,

Jameson, "Postmodernism" 83.

F rancis G illen , "Donald Berthalme's City: A Guide", Twentieth Cen­tu ry L ite ra tu re 18 (June 1972): 44,

G illen , "c ity " 37,

P e rlo ff, Indertermlnacy 13,

T. S. E lio t , notes on The Waste Land. Collected Poems 1909-1962 (V ndon: Faber, 1974).

Arthur Rimbaud, Las I llum inations. Complete Works. Selected L etter s , tran s . Wallace Fowlie, French and English te x ts (1966; Chicago: Chicago UP, 1975) 216.

Rimbaud, I llum inations 236.

P e r lo ff , Indeterminacy 55-C.

Jean-Piorre Richard, "Rimbaud ou la podsie du devenir", Poasle aC orofondeur (Paris: E ditions du Seuii, 1955) 240, q td , in Pe rlo f, In ;

t l

dBtegminacv 45.

Maurice Couturier end RiSgis Durand no tice thn "qu ite amazing1' amount o f "passive sentences" in Barthelme’s w riting , Maurice Couturier and Regis Durand, Donald Zarthelme fContemoorarv W riters) (London: Methuen, 1952) 19.

Jameson, "Postmodernism" 83.

Michel Sorres, "language and Space: From Oedipus to Zola", Hermes:L ite ra tu re . Science. Philosophy. Crane. Josue V. H areri and David F. B ell (Baltimore: Johns Hopkins UP, 1982) 48.

Serres, "Language and Space" 63.

Se rre s , "Language and Space" 50.

Se rre s , "Language and Space" 49,

Foucault, Order x v lli .

This la very d if fe ren t from the modernist quest fo r an unchanging, e s se n t ia l s tru c tu re : "By associating space with s tru c tu re , Modernists could associa te s tru c tu re with meaning, and meaning w ith e tern al, mythical ex istence James M. C u rtis , "Spatlsl form In ModernistA esthetics" , S patia l Form in N arrative 164.

J u r i j Iiotman, The S tructure of the A rt is tic T ext, tra n s . G ail Lenhoff and Ronald Vroon (Michigan: Michigan UP, 1977) 218.

Roland Barthes, S/Z, tra n s . Richard H ille r (New York: H ill and Wang,

Sarthas, S/2 65.

See Barthes, 8/Z 106-107.

Louis Marin, "Disneyland: A Degenerate Utopia", Glyph I I (1977): 54,

Marin, "Disneyland" 54-55,

Roland B arthes, Roland Barthes, tra n s . Richiird Howard (New York: H ill and Wang, 1977) 70.

Barthes, Barthas 76

Barthos, Barthes 49.

Gaston Bachelard, The Poetics of Space, tran s . Maria Jo las (Boston: Beacon, 1969) 7.

Bachelard, Space 5.

Lotman, S truc tu rf 237.

lotman, S tructure 237.

Lotman, S tructure 233.

Lotman, S tructure 23R.

Barthes, S^Z 2 '5 .

i t + r -

1 Jean B aud rilla td , "The Ecstasy of Communication", tra n s . John Johnston, Postmodara C ulture , ad, Hal r o s te r {1963} London; Pluto P ress , 1985) 130.

3 For Pietre-Yves P a tll lo n , the c o n flic t between the spaces o f the old and new worlds is c en tra l to Barthelme's w ritin g . Sae Pierre-Yves p d tilJen / "F ic tions d'Am^rique: Donald Barthelme", C ritique: RevueG^n^rale dea Publications Prancaises 32 (1976): 626-642.

* "Gustav Aschenbach was bora a t L -, .a country town in the province of S i le s ia . He was the son o f an upper o f f ic ia l in the Jud icatu re , and h is forbears had a l l been o ff ic e rs , judges, departmental functionaries • men who lived th e ir s t r i c t , decent, sparing livea in the serv ice of king and S ta te" . Thomas Mann, " :a th in Venice. S tories

i Episodes by Mann, tr a n s . H. T. Lowe-Porter (London: J.M. Dent,

1 tiotman, S tructure 209.

6 Lotman, S tructure

’ Lotman, S tructure 212,

' Lotman, S tructure 2

* The term miBa-en-abfaia derives from heraldry and seems to have been introduced to l i t e r a tu re by Andre Gide, who used i t to describe the s e lf -re f le x iv e techniques of h is novel, Les Faux-Homwyeurs (The C oun terfe ite rs) , See J .P . G oldstein, Pour L ire le Roman (P a ris .• J, D uclot, 1980) 19.

’ Mary Ann Caws, The Eye in the Text: Sasavs on P e r option,to Modern (Princeton: Princeton UP, 1981) IS.

1 Siioshsnd Pelrosn, "Turning the Screw of In te rp re ta tio n " , L ite ra tu re and Psychoanalysis: the Question of reading: Otherwise, ed. Shoshana Telman (Baltimote: Johns Hopkins UP, 1962) 123.

1 Felman, "Turning the Screw" 123.

. y

1 Lotman, S tructure 2

1 Jacques D errida, La V drita an Pafntura (P aris) F lflm arion, 1973) 6

* Couturiei and Durand, Sarthalne 9.

1 CouSlirior and Durand, Bart.halga 9.

3 of quotation marks. Couturier and

8 Maurice C outurier, "Baxthelme's Uppity Bubbiai 'The Balloon '", Revua rra n ea ise d e lu d es .̂nuiticalnaa 9 (October 1979): 184.

• C outurier, "Uppity Bubble" 193.

‘ Coutur lex-1 "Uppity Bubble" 186-187.

1 C outurier, "Uppity Bubble" 192-193.

6 Claude L^vi-Strati; v, "From Cyclical S tructure in Myth to S e ria l Ro­mance in Modern F ic tio n " , tran s . Petra Morrison, Sociology of L ite r ­a ture and Drama, ads, PUzabeth and Tom Burns (Baltimore: Fanguin

Leland, "Remarks"

C outurier, "Uppity Bubble" 192,

P e til lo n , "Barthelme" 637.

i, "Postmodernism" 57.

P e til lo n , "Barthelme"

sk Again: The Philosophy of AntivVarhol (1975j Isndoai Picador, 1979) 129-130.

Durand, Donald Barthelme Contem-

Ses Jurgen Habensas, "Modernity - An Incomplete P ro jec t", tran s . Seyla Ban-Habib, Postmodern C ulture , ed. Hal Foster (1983; London:

Jacques D errida, Wr i t in g and D ifference. Routledge and Kegan Paul, 1978) 301.

qcd in Jonathan C u ller , Barthes Fontana Modern Masters (Glasgow: Fontana, 1983) 124.

Frederic Jameson, "Postmodernism, or the C ultu ra l lo g ic o f Lata Capita lism '', Mew L eft Review 146 (1984): 65.

Jameson, "Postmodernism" 65.

T erry Eagleton, "Capitalism , Modernism and Post-Modernism [s ic ]" . New L eft Review 252 (2985): 60.

E agleton, "Capitalism and Post-Modernism" 61.

q td , with no acknowledgement o f source in Dave Laing, The Marxist Theory of Art Modem Theory and Contemporary Capitalism (Sussex: The Harvester P, 1978) 90,

See Leon S. Reudiez, in troduction , Desire in Language: A Semlotic Approach to L ite ra tu re and Art by J u l i i K risteve, tra n s , Thomas Gora ett e l , (New York: Columbia UP, 1980) IB.

See Jameson, "Postmodernism" 85-88,

C outurier and Durand, Barthelma 24,

Jerome Klinkowita, "Donald Barthelme'a SuperFiction", C ritique 16 3 (1975): 18,

K linkowitz, "SuperFiction" 18.

Maurice Blenchot, L’E ntretien In fln i (P a ris: Gallimard, 1969) 451, q td , and tran s , C outurier and Durand, Barthelma 25.

Jameson, "Postmodernism" 76,

T .S. E lio t , The Waste Land, Collected Poems 1909-1962 (London: Faber, 1974) 1. 430.

Charles MoleswortV, Donald Barthelme's F ic tion : The I ro n is t Saved from Drowning L ite ra ry F ron tiers (Columbia: U of Missouri P, 1962)

T .S. E lio t , "Ulysses, Order and Myth", The Dial November (1923) n .p ., q td . Franco M oretti, "From The Waste Land to the A r t if ic ia l Para­d ise " , t r a n s , Susan F ischer e t s i . , Signs Taken For Wonders: Essays in the Sociology of L ite ra ry Forms (London: Verso, 1963) 210-211.

Roland Barthes, The Pleasure of the T ext, t r a n s , Richard M iller (New York: H ill and Wang, 1975) 18.

E lio t , The Waste Land 11.426-429.

Roman Jakobson, "Two Aspects o f Language and Two Types o f Aphasic D isturbances", Selected W ritings of Roman Jakobson. I I : Word and Language (The Hague, Mouton and Co., 1971).

David Lodge, The Modes of Me • :l W riting: Metaphor. Metonymy, arid the Typology o f Modern L itere tuxe (London: Edward Arnold, 1977) qtd . in Brooke-Rose, Rhetoric 356, I am indebted to Brooke-Rose fo r her lucid summary o f both Jakobson and Lodge's arguments,

Brooke-Rose, Rhetoric 359.

See Roland Barthes, "Theory o f the Text”, t r a n s . Ian McLeod, Untying the Text: A P o s t-S tru c tu ra lis t Reader, ed, Robert Young (London: Routledge and Kegan Paul, 1981) 36-39.

Lodge, Modes 220, q td . in Brooke-Rose, Rhetoric 354.

Brnoke-Rose, Rhetoric

Barbara Maioy, "Barthalme's The Dead Fa the ri Analysis of gory", L inguistics in L ite ra tu re 2.2 (1977).

Moloy, "Allegory" 97.

See Haloy, "Allegory" 95-98.

Eagleton, "Capital!

aphorism is quoted, s ig n ific an t ly by Michel Foucault. See Michel m u lt , The Order of Thingsi An Archaeology of the Human Sciences, is . Alan Sheridan (1966; London: Tavistock, 1974) 298.

spoken word possib le ." William Burroughs, w ith Daniel Odier,

Roland Barthes, §/_Z,

r:” Barthes, S/2 18.

' 3' Barthes, S/Z 19,

B arthes, S/Z 51

, s ‘' Susan Sontag, "The Pornographic Imagination", Story of the Eve, fieorges B a ta ille , tra n s . Joachim Neugroschel (London: Marlon Boyars, 1979) 98,

” * la rches , s^Z 156

1,1 na rthes, S^Z 156.

■ ( ha rle s Holesworth reads "A Pew Minutes o f Waking and Sleeping" UPUA) w ith de ta iled reference to B arthes's p ro a ire tic code. What U stlnguishes Holeaworth's use o f Barthes f r« i my own, is lolesw ortli's in te re s t in using the p ro a ire tic code only to measure ju i ta straigh tforw ard d isc o n tin u itie s in B.; •tlielme's deployment of the code. X find the degree of te x tu a l s e lf - r e f le x iv i ty in Barthelme more te l l in g : fa r from simply deviating from e. normative code, he outdoes i t , beating i t a t i t s own naming game, This r e su l ts in a far more profound d isrup tion than mere gaps in an otherwise "normal" n a rra tiv e ac tion . Holesworth, Barthelme 50-53, Carl Malmgren1s ap­proach in h is w itty reworking of "The Zombies" (UPUA), as a postmodern S a rrasin e . is c lo ser to mine. Malmgren makes th e most perceptive comment on any attem pt to apply B arthes's codes to Barthelme, for Halmgre. t e l l s us th a t we must recognise the presence/absence of an­o the r, more e lusive code. This i s , according to Malmgren "the para- code - the code which 1unmakes1 some o f the other codes, inverting or e rasing them. Because i t must p a ra s itic a l ly feed o ff other codes in order to speak, i t is a 's ile n t* code". See Carl Malmgren, "B arthes's Sj£ and B arthelae 's "The Zombies": A CacographicIn terru p ta tio n of a Text", PTLi A Journal fo r D escriptive Poetics and Theory of L ite ra tu re 3 (1978): 209.

1 Jameson, "Postmodernism" 73.

z:

Roland Barthes, "Textual Analysis o f Poe’s 'Valdemar'" , tr sn s . Geoff Bennington, Untying the T ext.

Brooke-Rose, Rhetoric 359.

Jacques D errida, Diaaerclnatlc-n, trana . Barbara Johnson (Chi-..-go: U

of Chicago P, 1981) 304.

Jonathan C u ller , On D econstructioni Theory and Criticism a fte r S tructuralism (London: Routledge and Kagan Paul, 1983) 59-61.

See note 61 to Chapter Three, above.

Joe David Bellamy, Tha New F ic tion (Urbana: I l l in o i s UP, 1974) 52,

Already c i te d , note 310.

For example, "Clear Camel Piss Soup with boiled Earth yores", appro­p r ia te ly from The Naked Lunch. See William Burroughs, The Naked Lunch (1959; London: John Calder, 1982) 150.

Molesvorth, Barthelme 5.1.

Molesworth, Barthelme 60

H olesuorth, Barthelme 59.

E lizabeth Wright, Psychoanalytic Criticism : Theory in Practice(London! Methuen, 1984) 60.

Anti-Oedipus: Capitalism and

Jameson, "Postmodernism" 53.

Jameson, "Postmodernism" 59-60.

Gregory Ulmer, "The Objt P ost-C ritic ism ", Postmodern C ultu re .

uii Linyuanvavtvn «iiiu uno aiiiiuittvtum.Spurs: N ie tzsche's S ty les / Eoerona: Lea Styles di Barbara Harlow (Chicago: Chicago UP, 1979) 12-43,

p ro d u c tio n ...." Jameson, "Postmodernism" 79.

Jemeson, "Postmodernism" 66. See a lso Gi . ileuze, "Plato

Foucault, Pips 54.

Jacquss D errida, Of Gtammatology.

i: Laing, Marxist Theory of Art 52

example, Molesworth, Barthelme 64,

V . s

Molesworth, Barthelme SO.

B^gis Durar.d, "On Conversing: In/On W riting", Sub-Stance 27 (1S80):

Again, a summary of what is a considerable body of c rit ic ism is use­fu l : see Antony Basthope, "Discourse as Ideology", Poetry As D is­course (London: Methuen, 1983) 19-24. For a more d e ta iled statement of the notion th a t w riting r e f le c ts , or shows a homology w ith , con­d itio n s o f production as they are masked by ideology, see Lucien Goldmann, Pour une Soclologle du Roman (P a ris ; GalUmard, 1964). Stephen Heath, on the other hand, argues resoundingly for the essen­t i a l p roductiv ity of language. Stephen Heath, "Language, l i t e r a tu re , m ateria lism ", Sub-Stance 17 (1974): 67-74.

Sontag, "Pornographic Imagination" 99. See a lso note 44 of the p resent chapter.

See Burroughs, The Job 180, as w ell as Anderson's performances, as discussed by Craig Owens, "The Discourse o f Others,1 Fem inists and Postmodernism" in Foster, Postmodern Culture 60-61 and 78.

Molesworth, Barthelme 35.

Holesworth, Barthelme 29.

Andy Warhol, From A to 8 and Back Again: The Philosophy of Andy Warhol (London: Picador, 1975) 134.

John Noyes, "Writing the W riting in Painting: Benjamin and Warhol", seminar paper, U o f Cape Town, 1967,

Bagleton, "Capitalism and Post-Modernism" 67,

* Eagleton, "Capitalism and Post-Mudernism"

9 Warhol, Prom A to B 1j 1

• See William Gass, "The Leading Edge of the Trash Phenomenon” , F iction and the Figures o f Life (New York; Alfred A. Knopf, 1970), Larry McCafferv. ^Bartlielme's^ Snou White: The A esthetics of Trash", C rl- tlttue 16,3 (1975): 19-3, and P h ilip Stevick, A lternative Pleasures:P o s tre a lis t F iction and the A lternative T rad ition (Urbane: I l l in o i s UP, 1981).

1 Holesworth, flarthelmc S,

1 Holesworth, Barthelme 9.

1 D errida, Of Graaroatology 9,

‘ Gass, "Trash" iu2.

$ Holesworth, Barthelme 15.

6 Holesworth, Barthelme 20.

’ Holesworth, Barthelme 89.

1 Couturier and Durand, Barthelme 62.

1 C outurier and Durand, Barthelme 13.

1 Holesworth, Barthelme A,

/ • -

"Equanimity"

E ajlo ton , "Capitalism anti Post-Modernism"

See Sandra G ilbert and Susan Gubar, "Sexual L ingu istics : Gender, Language, Sexuality", MftW L iterary H istory 15.3 (Spring 1985) 5,12.

Staphane Mallarme, "Le tombeau d'Edgar Poe", Poesies (P a ris : Liyre

P iarre-lV es P 4tllloa , "F ic tions d'Am^ricjuei Donald Barthelme", tloua 32 (1976); 636-635, "World"> with Jn Brans Sout

i t i , See a lso Donald Barthelme, "Embracing the South West Review 67.2 (Spring 1982): 122.

Barthes, S^Z x-x i.

Barthes, S/Z 4.

Barthes, M eaaure 51-52.

J u l ia K risteva, "Postmodornistnt",

See Walter Ong, FightingOubar, "Sexual L inguistics" 532.

/ ;

K linkowltz, "SuperFiction" 8.

is a paradl "P ie rre He

..

David ffayman, "Some Ifricers in the wake of

and Ideology in Sue's Las Hvat4i

Barthes, Barthes 51.

R^gis Couturier

Durand, Bartiielma 38.

James H all, PiceioiiJrv o f Subjects and Symbols

Betty C. D, Farmer, "Mythological, B ib lica l, and L ite ra ry Allusions in Donald Barthelme’s The Dead Father" . In terna tional F ic tion Review

Psychological Works,

Tabooi The Standard E dition of tha Complete Psvcholuglcfli

" . . . without laying claim to any final in the case befora us i t m y sa fe ly be was the Deed?" James Strachey explains

"Donald Barthelme'a 'Views of My Father Weeping': A modern id in u s N o te s on Contsmnorarv L ite ra tu re 3- 2 f 19731i 14-15.

Angela Richards, comp, Indexes and B ib liographies. The Standard Edi­tio n of the Complete Psychological Works of Sigmund Freud. 24 yols.

d ia lec tiquc riu d^siiJacquss Lacan, "Subversic I 'in c o n scien t f. .:udlen", E

'F iction:- d'Amiriquei Donald Barthelme", Cri-tlau e 32 (1976): 641,

P e til lo n , "Barthelma" 633.

To make th e footnotes s lig h tly le ss cumbersome, a l l fu rth er re fe r ­ences to Fimtcxact Wake w ill be given in the te x t as Ftf w ith a page reference; I have not followed the convention among Wake scholars of g iving lin e references as w ell. See James Joyce, Finnegans Wake (1939;

Jovspriek 19.

Roland HacHugh, "Recipis fo r the 'r i c e of th e Coffin! Book I , chapters i i - iv " , A Conceptual Guide to Fimisgans Wake, ed. Michael H. Begnfil and F r i tz Senn (U niversity Park: The Pennsylvania S ta te UP, 1974) 26.

i l l " . Conceptual Guide 116.

9 T inda ll, Reader's Guide 271,

p Burgess, fov e-vample, a sso rts th a t the s ig n i f ie r ' echechohoing is a ty p ic a l example o f Joyce's s ty le : " . . . the way . . . the author w ill force a conventional semanteme in to being i c o n ic . . , , ’1. Although Burgess notes the inc lusion o f the i n i t ia l s H.C.S. in the p a rticu la r word, i t i s not in fac t quoted from the Wake. Burgess gives the source as James Joyce, "From a Banned W riter to a Banned Singer" , Mew Statesman (1932), q td . Burgess, Jovsprick 136.

1 Maud Kllmann, "Disrememberlng Dedelus; A P o r tra i t o f the A rt is t as a Young Man" . Untying the Text: A P o s t-S tru c tu ra lis t Reader, ad. Robert Young (London; Routledge and Kogan Paul, 1981) 195. The appropriate references in Joyce's te x t can be found in James Joyce, A P o r tra it o f the A rt is t as a Young Man (1916; London; Jonathan Capa, 1948) 98

1 Ellmanu, ''Disreoombering Dedalus" 195.

9 V alentine Cunningham, "Renoving That B ible: The Absolute Text of (Pose) Modernism", The Theory of Reading, ed. Frank Gloversmith (Sussex: The Harvester P, 1984) 31,

6 Sigmund Freud, "Family Romances", The Standard E dition of the Com­p le te Psychological Works. 24 v o ls ., tran s , James Strschey (London: The Hogarth P, 1959) 9: 239,

* Freud, "Family Romances" 239,

’ A ll fu rth er references to The Anxiety of Influence w ill be given in the te x t as A! w ith a page reference. Harold Bloom, The Anxiety of Influence: A Theory of Poetry (New York: Oxford UP, 1973).

Burgess, fo r example, a s s e r ts th a t the s ig n i f ie r "echechohoing" is a ty p ic a l example of Joyce’s s ty le : " . . . the way . . . the author w ill force a conventional semanteme in to being ic o n ic . . . .1'. Although Burgnsa notes the Inclusion of the i n i t ia l s K.C.B. in the p a rtic u la r word, i t is not in fac t quoted from the Wake. Burgess gives the source as James Joyce, "From a Banned W riter to a Banned Singer" , New Statesman (1932), q td. Burgess, Jovsprick 138.

Hand Ellmann, "Disremembering Dadalusi A P o r tra it of the A rt is t as a Young Man". Untying the Text: A f-o st-S tru ctu ra lis t Reader, ad, Robert Young (Lmdon: Routledge and Kogan Paul, 1981) 19S. The appropriate references In Joyce's te x t can be found in James Joyce, A P o r tra it o f th e A rt is t as a Young Man (1916; London! Jonathan Cape, 1946) 96

Ellmann, "Disremembering Dedalua" 195.

V alentine Cunningham, "Rencving That B ible: The Absolute Text of (Post) Modernism", The Theory of Reading, ed. Frank Gloversmith (Sussex: The Harvester P. 1984) 31,

A ll references to Ulysses w ill be given in the te x t as U w ith page reference. James Joyce, Ulvasas (1922; KarmondsHorth: Penguin, 1972).

Sigmund Freud, "Family Romances", The Standard E dition of the Com­p le te Psychologica l Works. 24 v o ls . , trans. James strachey (London: The Hogarth P, 1959) 9: 239.

Freud, "Family Romances’1 239.

A ll fu rther references to The Anxiety of Influence w ill be given in the te x t as AI with a page reference. Harold Bloom, The Anxiety of Influence! A Theory of Poetry (New York: Oxford UP, 1973).

Charles Newman, "The Post-Modern Aura: The Act o f F ic tio n in an Age o f In fla tio n " , Salaeeundl 63-64 (Spriftg-SuroBFir 1984): 86.

David Kayman, "Some w riters in the wake o f the Wake". In The Wake of the Wake, ed. David Hainan and E ll io t Anderson (Madison: U of Wisconsin P, 1978) 7 and 8.

Newman, "Post-Modern Aura" 90.

Donald BertheIme, "A fter Joyce", Location 1 (Summer 1964): j.3-16.

See John Cage, Empty Words: W ritings '73 - '78 (Middletown: Wesleyan U, 1979) 133-176. Gregory (Timer re fe r s to Cage's pro jec t In Gregory L. Ulmer, "The Object o f Post-C riticism ” , Postmodern C u ltu re , ed. Hal F oster (1983; London: Pluto P, 1985) 103 and 110.

Philippe S e lle rs , "Joyce S Co.", tran s . Stephen Heath, In the Wake of the Wake 107. Another im portant assertion of the lin k between postmodernism and the Wake can be found in Ihab Hassan, " ( ):Finnegans Wake and the Postmodern Imagination", P a ra c rl tic is a s : Seven Speculations o f the Times (Urbane: U of I l l in o i s P, 1975),

Langenschneldh's Shorter German D ictionary: Gertnan-Snalish English-

Farmer, "Allusions" 42.

Farmer, "Allusions" 42.

Roland Barthes, The Pleasure of the T ext, tran s . Richard ( fi lle r (New York: H ill and Wang, 1975) 47.

qtd . and tran s . Geoffrey Hartman, "War in Heaven: A Review of Harold Bloom's The Anxiety of Influence: A Theory of Poetry" . The Fate of Reading and other essays, by Hartman (Chicago: U of Chicago P, 1975) S3. See Sigmund Freud, A Special Type of Choice of Object Hade by Men: Contributions to the Psychology of Love I" , The Standard E dition of the Complete Psychological Works. 24 v o ls . , tra r .s . James Strachey (London1 The Hogarth P, 1957) 2.

' 4 P e tit io n , "Batthelma" 632.

I am indebted to Keith Cohen’s inventive tra n s la tio n of ex trac ts frim Helene Cixous's P a r tis fo r th is suggestive orthographic pun which captures both the \om"~and "non" of Lacan's term. Helene Cixotis, from P a r tie , tra n s . Keith Cohen, In the Ifeka o f the Make 99.

‘ , l See note 460, above.

1 ,1 See Harold Bloom, A Kao of Misreading (New York: Oxford UP, 1975) 84.

For example, take th e v a lo risa tio n of the normally p e jo ra tiv e term "minor" in the work of Deleuze and G uattarii

Deleuze and G uattari ace not using the term "minor lite ra tu re " in i t s accepted sense , th a t o f r e la tiv e ly unimportant works.For them i t means the l i t e r a tu re o f a minority which must needs use the language of a m ajority from which i t fee ls a liena ted .

E lizabeth W right, Psychoanalytic Criticism : Theory in P ractice (London:

Methuen, 1984) 165-166.

Mentioned, fo r instance, in Hassan, P a racriticism s 81.

I‘*s Bloom, A Hap of Misreading 94.

Bloom, who is alarmingly slapdash about quotations and references , quotes the s ta ts a e n t , but does not explain whether i t was made by Malleroe end quoted by Lacan, o r whether i t is a comment by Lacan on an unquoted statement by H allaroe , Bloom does not t e l l us th e context o f M allarm i's remark.

F rederic Jameson, "Postmodernism, or the C ultu ra l Logic of Late C apitalism ", Hew Left Review 146 (19841: 77.

Susan Bontag, "Notes on 1 Camp1"> Aga in st In te rp re ta tio n and o ther

F iction] Essays 1973 - 1976 (New York: Random House, 1977)

See Jean Baudrilla rd , "The Ecstasy of Communication", Johnston , Postmodern C ultu re , See also Robert Young, pre "Theory of the Text", by Roland Barthes, tran s . Ian McLi

nonaid Barthelme, "Embracing the World",

Jameson, "Postmodernism" 65.

Jane G allop, Feminism

Psychoanalysis 91.

Jacques D errida, Spurs; N ietzsche's Styles;

( Parody: Teachittxs of Twentieth Centur'*

Charles ffolesiwrch, Donald Bartlialnm'a F ic tion : The I ro n is t Saved from Drowning l i t e r a r y F ron tiers (ColuobU: U of Missouri P, 1982)

P e til lo n , "Barthelae"

P e tit io n , " B a r th e W 633.

Jameson, "Postmodernism” 85.

Bloom gives no ind ica tion of the source of the >

Couturier and Durand, Barthalme 37 and 76,

Hcleswcrth, Barthalme 56.

Northrop Frye , Anatomy of C rltlcU m ; Four Essays (1957 ; New York:Athenoum, 1967) 89.

A ll fu rther references to Craig Owens, "The A llegorica l Impulse: To­ward a Theory of Postmodernism (Part 1)" , October 12 (1980): 67-84, end Craig Owens, "The A llegorica l Impulse: Toward a Theory o f Postmodernism (P a rt 2 )" , October 13 (1980): 58-80, w ill be given as A 1 and A 2 respectively , followed by appropriate page references ,

( I have se lec ted the abbreviations to avoid confusion between "A llegorical Impulse" and Anxiety o f In fluence .)

Paul de Han, "The Rhetoric o f Temporality", In te rp re ta tio n ; Theory and P ra c tic e , ed. Charles S. Singleton (Baltimore: Johns Hopkins P, 1969) 173.

Angus F le tcher , Allegory; The Theory of a Symbolic Mode (Ithaca: Cornell UP, 1964),

Maureen Q uilligan , The Language of Allegory: Defining the Genre ( Ithaca: Cornell UP, 1979) 203. A ll fu rther references w ill be ir. the te x t , as LA w ith a page reference.

Valuer Benjamin, The O rigin of German Tragic grama, tr a a s . John Osborne (London; NLB, 1977), Paul de Man, A llegories of Reading; Flftural Language in Rousseau. Nietzsche. Rilke and Proust (New Haven: Yale UP, 1979)."All fu rth er references to Benjamin's te x t w ill be given as OGTD, in the te x t i t s e l f , while de Han's work w ill be ab­brev ia ted as AR. All references to i t w ill a lso be given in the te x t. For UbtttSr on allegory in po s t-c rit ic ism , see Ulmer, "The Object of Post-C ritic ism " 95-99.

As examples o f a lleg o r ic a l a r t c rit ic ism , see Stephen V. M elville , "The Time of Exposure: A llegorica l S e lf -P o r tra itu re in CindySherman", Arts Magazine 6.5 (1986), and Benjamin H.D, Buchloch, "A llegorical Procedures: A ppropriation and Montage in Contemporary A rt" , Artfururc 21.1 (1582).

Ulmer, T h e Object o f Post-C ritic ism ” 94; F rederic Jameson, The Prison-House of Language (Princeton; Princeton UP, 1975) 180.Q uilligan informs us th a t The Anatomy of Criticism was to have been "an in troduction to the theory of a llegory" , LA 281.

F le tcher , A llegory 2.

FleSehar, A llegory 3.

Umberto Beo, Semiotics and the Philosophy of Language, no tran s .

(London: Macmillan, 1984) 68-86.

111 Jacques Lacan, "Of S tructure as an Inmixing of an Otherness Prereq­u i s i t e to Any Subject Whatever", The S tru c tu ra lis t Controversy: The Languages o f C riticism and the Sciences o f Wan, ed, Richard Macksey and Eugenio Donato (Baltimore: Johns Hopkins UP, 1972).

1,1 de Han, "Rhetoric of Temporality" 190.

111 F le tcher , A llegory 2.

!1‘ Hutchecn, Parody 4. See a lso Q uilligan , LA 132.

, l * Ulmer, "The Object o f Post-C riticism " 99-107.

111 de Han, "Rhetoric of Temporality" 191.

12’ Farmer, "Ailusions" 45-46,

* Farmer, "Allusions" 48.

I

//I'/

Cunningham, "Renoving th a t Bible" 33.

Cunningham, "Renoving th a t Bible" 41,

Cunningham, "Renoving th a t Bible" 39.

Cunningham, "Renoving th a t Bible" 37-38.

Cunningham, "Renoving th a t Bible" 24,

Cunningham, "Renoving th a t Bible" 25,

Cunningham, "Renoving th a t Bible" 47,

Cunningham "Renoving tha t B ible" 48.

Cunningham, "Renoving th a t Bible" 48.

Molesworth, Barthelme 1.

Andre B leikasten even says th a t Faulkner's novel uas "conceived aa a su b tle and s in is te r parody" o f Resthom e's te x t . Andre B leikasten , Fau lkner's As I Lay Dying, tran s , Roger L it t le , (1970; Bloomington, Indiana UP, 1973) 19,

Donald Barthelme, "Embracing the World" 123.

Firmer c i te s Anthony Burgess, Re Joyce (New York: W.W, Norton, 1965) 196 and 200. Farmer, "Allusions 40. See QJ 6-8.

Haloy, "Allegory" 110.

" . . . i f th e Wake la a dream, who Is the dreamer? Our f i r s t guess is H.C.8. T in d a ll.Reader's Guide 19.

T in d a ll, Reader's Guide 18.

" I f the 'b ad bold’ fa the r is only in Sham's imagination, Shem aould be the dreamer o f the Wake" . T in d a ll, Reader's Guide 289-290.

Q uilligan again uses Honig, Dark Conceit 72. A ll fu rther references to The S c a rle t L etter w ill be given as SL in the te x t , w ith a page reference , Nathaniel Hawthorne, The S ta r le t L etter (Harmondsworthl Penguin, 1983).

T oucher , A llegory 227-232.

Laurie Anderson, Americans on the Hove. October 8 (1979): 45-57, q td. without exact page referem .es, A 2 60.

Umberto Eco, A Theory of Sem iotics, no tran s . (Bloomington: Indiana UP, 1979) 7.

Q uilligan provides th e pun " le t te r a l" which Ulmer uses. Ulmer, "The Object o f Post-C riticism " 95. See note 185, above.

See note 480, above.

N orris , Decentred Universe 107.

Cage, Empty Words 134.

This is one of the "mesosties" anthologized as John Cage "7 out of 23", In the Wake of the Wake 174. For more, see Cage, Empty Words

Michael R iffa te rre , Semiotics o f Poetry (London: Methuen, 1978) 104.

Maloy, "Allegory" 110.

a D econstruetion 214.

Buchloch, "A llegorical Procedures" 44.

Benjamin derives the quotation from Karl Giehlow, Die Hieroglyphenkunde das Humaniamus in der A llegorle der Renaissance, besonders der Ehrenaforte Kaisers Maximilian I: Eln Verstich (Vienna: n .p . , ISIS) 34.

See Max E rnst, line Seaalne de Bonte: A S u rre a lis t ic Novel in Collage

B razillee , 1981).

Walter Benjamin, "Z entraipark", Gesaamelte S chrlften 2 vols. (Frankfurt! Suhrkamp, 1966) 660, q td . and tran s , without a c lear ind ication of the volume number by Buchloch, "A llegorical Procedures"

Holeaworth w rites o f the "undeniable note of melancholy" in Barthelm e's work. Holosworth, Barthelme 21, See, a lso , C outurier and Durand, Barthelme 34 and 36.

Jean B audrllla rd , in terview , w ith Catherine Francblin , Flash Art 130 (October/November 1966): 55.

B aud tillard uses the term , See Jean B audrllla rd , "Forget B aud rllla rd" , w ith Sylvero L otringer , Forget Foucault/Forget Baudrllla rd (New Fork: Sem iotext(e), 1967) 75.

B aud rllla rd , interview 55.

Buchloch, "A llegorical Procedures" 43 and '•■’■38.

Cleanth Brooks, The Well Wrought Urn (New York: llarcourt and Brace,

For a b r ie f discussion of the Wunderkammer. and I t s relevance to the boxes o f tn e a re h -e lle g o ris t and magician o f junk, Joseph Cornell, see C arter R a tc lif f , "Joseph Cornell: Mechanic of the Ineffab le" , Joseph C ornell, ed. Kynaston McShine (New York: Museum of Modern A rt, 1980) 43. For a w itty comparison of medieval c o llec tions o f re lic s and r a r i t i e s to Pop A rt exh ib itions , see Umberto Eco, "Towards a New Middle Ages", tra n s . John Shepley and Barbara Spackman, On Signs: A Semiotics Reader, ed. Marshall Blonsky (Oxford: B asil Blackwell, 1985) 502.

BIBLIOGRAPHY

Works by Donald Barthelme

I n i t i a l s a lte r the t i t l e in d ica te the abbreviation used in the te x t.

Come Bank. Dr C e lig a ri. CBDC. 1964, London! Eyre and Spottiswoode, 1966.

Snow White SW, 1367, New fork: Aehaneam, 2984,

Unspeakable P ra c tice s . Unnatural A cts. UPUA. 1968. New York: Fa rra r ,

Straus and Giroux, 1973.

C ity L ife . CL. 1970, London: Jonathan Cape, 1971,

Sadness. 5. New York: F a rra r, S traus and Giroux, 1972,

G uilty P leasu res, OP, 1974, New Yorki D ell, n ,d .

The Dead F a th e r. DF. New York: F a rra r , Straus and Giroux, 1975.

Amateurs . A. 1976, London; Routledge and Kegan Paul, 1977.

Great Days, Gg. 1979. London: Routledge and Kegan Paul, 1979.

Overnight to Many D istan t C i tie s . OTHDC. New York: Putnam, 1983.

The following te x t was not availab le a t the time of w riting :

Parad ise . New York: Putnam, 1986.

Criticism of Donald Barthelme's works

A iib illes , Joclien. "Donald Barthelraa's A esthetic of Inversion:

C a lig a ri 's Cone-Back as C a llg a ri 's Leave-Taking," The

Journa] of N arrative Technique, 12.2 (1962): 105-120,

Bareh'iirae, Donald. "After Jovee." location 2 (1964): 13-16,

"Embracing the World.11 With Jo Brans. Southi/ast Review

67.2 (1382): 121-137.

- - - , Interview . With Jerome Klinkowits. The Maw F ic tion :

Interviews w ith Innovative American W riters. Ed. Joe David

Bellamy. Urbane: U of I l l in o i s P, 1974. 45-54,

C outurier, Maurice, "Barthelrae, ou la contamination ," D elta 8 (1079):

"Barthelme's Uppity Bubble: 'The Balloon '". Revue

francalse d '^ tudas amdricaines 9 (1979): 183-201.

C outurier, Maurice, and Rdgis Durand, Donald Barthelroa.Conteinpotary

W riters, London: Methuen, 1982.

Robert Murray, "Donald Barthelm e's Textual Revisions ,"

Kesources fo r American L ite ra ry Study 7 (1977): 182-191,

Daniel A. "Breast Fantasy in Berthe line, Sw ift, and P hilip

Roth; C re a tiv ity and Psychoanalytic S tru c tu re ." American

Imago 33 (1976): 102-127.

V. S. "Donald Barthalme's ’Views o f My Father Keeping'r

A Modern Oedipus” Motes on Con'emporarv L ite ra tu re 3.2

(1973): 14-13.

Betty C. D. "Mythological, B ib lic a l, and L iterary

A llusions in Donald Barthelme's The Dead Fathe r ." In te r ­

na tional F ic tion Review 6.1 (1979): 40-48.

Betty. "Barthelme's Snow White: The Reader-Patient Re­

la tionsh ip ." C ritique 16.3 (1975): 33-43.

William. "The Leading Edge of the Trash Phenomenon."

F ic tion and the Figures of L ife . By Gass, New York: Alfred

A. Knopf, 1970. 97-103.

F rancis. "Donald Barthelm e's City: A Guide." Twentieth

Century L ite ra tu re 18 (1972): 37-44.

R. E. " 1 Bees Barking in the Night1: The End and Beginning

of Donald Barthelme's N arrative." Boundary 2 5 (1976):

Frederick R. American F ic tions 1940-1980: A Comprehensive

H istory and C r itic a l E valuation. New York: Harper and Row,

Jerome, "Donald Bavthelme's SuperFiction." C ilclaua 16,3

(1975): 5-18.

L ite ra ry D isrupt ions: Tite Making of a Post-Contemporary

American F ic tio n , 2nd ed. Urbana: I l l in o i s UP, 19S0.

Thomas M. "Donald BartheIme and the End of the End,"

Modern F ic tion Studies 28.1 (1982): 129-143,

John. "Remarks Re-marked: Bartheloie, What Curios of

Signs I Boundary 2 5 (1977): 795-811.

Larry. "Barthelme's Snow White: The A esthetics o f Trash ,"

C ritique 16.3 (1975): 19-32.

"Donald BartheIme and the M etafiecional Muse." Sub-Stance

27 (1980): 75-88.

"Meaning and Non-Meaning in Barthelm e's F ic tio n s ," Jour­

na l of A esthetic Education 13 (1979)t 69-79.

S ally Allen, " 'But Why Am I Troubling Myself About Cans?':

S ty le , Reaction aiw Lack of Reaction in Barthelme's Snov

W hite," Language and Style 8 (1974): 81-94,

C arl. "B arthes's S/Z and Barthelme's 'The Zombies': A

Cacographic I n t e r r u p t io n o f a Text." PTL: A Journal of

D escriptive Poetics and Theory of L ite ra tu re 3 (1978):

V -.

Haley, Benvara, "BartUelma's The Dead Father: Analysis of an

A llegory." l in g u is tic s Xn l i t e ra tu re 2.2 (1977): 43-119,

Holesworch, ■ Charles, Donald B arthelae 's F ic tion ; TLa I ro n is t Savad

from Drowning, L ite ra ry F ron tiers , Columbia: V of

M issouri t>, 1982.

P a til lo n , Pierre-Yves. "F ic tions d 1 toiariqua: Donald Barthalme."

C rltlqug: Revue Generals des Publications Prancalses 32

(1976); 626-662,

Shelton , Frank W. "Bartheilm 'a Western T all Tale: 'Porcupines a t

the U n iv e rsity '." Notes on Contemporary L ite ra tu re 9,1

(1979): 2-3.

Stev ick , P h ilip , A lternative Pleasures: P o s tre a lis t F ic tion and the

A lternative T rad ition . Urbane: I l l in o i s UP, 1981.

Tanner, Tony. City of Words: American F ic tion 1950-1970. LondonI

Jonathan Caie, 1971.

V idal, George. "American P lastic: The M atter o i F ic tio n ." Mat­

te r s of Fact and of F ic tion (Esoava 1973-19761. By Vidal.

New York: Random House, 1977. 99-129.

Weixelmann, Joe and Shsr, "Barth and Barthelme Recycle the Perseus

Myth; A Study in L ite ra ry Ecology," Modern F iction

Studies 25 (1979): 191-207.

Whalen, Tom. "Wonderful Elegance: Borthelme's 'The P a r ty '," C ri­

tique 16,3 (1975): 44-51.

Wilde, Alan. "Barthelaie Unfair to Kierkegaard: Some Thoughts on

Modern and Postmodern Irony." Boundary 2 5 (1976): 45-70.

O ther Fiction and Poetry

Abish, W alter. I n the Future P e rfe c t, 1975. London: Faber, 1984.

Ashbery, John. Houseboat Devs, 1975, Harmondsworth: Penguin, 1979,

Beckett, Samuel. The Unnamaable. The Beckett T rilogy . 1959. London:

Picador, 1980,

Bely, Andrei. Petersburg. Trans, Robert A. Maguire and John B,

Maltnstead, 1916. Harmondsworth: Penguin, 1983.

Borges, Jorge Luis, "P ierre Menard, Author of the Quixote."

Labyrinths. By Borges. T rans., various, Harmondsworth:

Penguin, 1970. 62-71.

Burroughs, William. The Naked Lunch, 1959, London: John Gaidar,

John, Empty Words; W ritings ' 73-7B, Middletown: Wesleyan

U niversity , 1979.

A lfred. B erlin A lexandgrglata , Trans. Eugene Jo in s , 1929.

Harmondsworth: Penguin, 1978.

a land , Collected Poems 1909-1962. London:

Max. Une Semalne de Bonte: A S u r re a lis t ic Novel in

C ollage , New York: Dover, 1976.

The Hundred Headless Woman (La femme 100 te t e s ) , Trans.

Dorothea Tanning, New York: George B ra s ille r , 1981.

N athaniel. The Scrrlee L e t te r . Harmondsworth: Penguin,

E. T. A. "The Sandman," Trans. Leonard J , Kent and

Elizabeth C. Kright, F an tastic Worlds: Myths. Tales and

S to rie s . Ed. E ric S, Kabkin. Oxford: Oxford UP, 1979.

214-246.

James. Pinnaaana Wake. 1939. London: Faber, i960.

A P o r tr a it < A rt is t as a Young 1:

Jonathan Cape, 1948.

Ulysses . 1922. Harmondsworth: Penguin, 1972,

Stdphane. " le tombeau d'Edgar Poe." P o n ie s . P a iia : Le

Livre de Poche, 1977.

Thomas. Death In Venice. S tores and Episodes.

Trans. H, T. Lowe-Porter. London: J . M, Dont, 1.940.

Thomas. The Crying of Lot 49. 1967. Karmondsworth:

Penguin, 1974.

Arthur. Les Illum inations ,Complete Works, Selected

L e tte r s . Trans. Wallace Fowlie. French and English te x ts ,

1966, Chicago: Chicago UP, 197S,

Andy. From A to B and Back Again: The Philosophy o f Andy

Warhol. 1975, London: Picador, 1979.

Edmund. Forgetting Elena and Nocturnes fo r th e King of

Naples. 1973 and 1978, London: Picador, 1984,

Critical and Theoretical Texts

A lthusser , Louis. "Ideology and Ideo log ica l S .a te Apparatuses (Notes

towards an in v e s tig a tio n ) ." N, tvans, Essays on

Ideology, By A lthusser. London! Verse, 1984, 1-60,

A ustin, J . L. How to Do Things w ith Words. Londoni Oxford UP,

Baclielard, i Gaston. The Poetics of Space. Trans. Maria Jo la s . Boston:

Beacon, 1969.

Bakhtin, Mikhail. Problems of Dostoevsky's P oe tic s . Trans. R. W.

R otsel. Ohio: A rdis, 1973.

B arthes, Roland. L'Empire das SizneB. Gsneva: E ditions d 'A rt,

A lbert Skira , 1970.

A Lovor’s Discourse; Fragments. Trans. Richard Howard.

London: Jonathan Cape, 1179.

The Pleasure of the T ext. Trans. Richard H ille r , New York;

H ill and Wang, 1975.

Roland Barthes. Trans. Richard Howard. New York: H ill and

Wang, 1977.

S /2 . Trans. Richard M illar. New York: H ill and Wang, 197A.

"Textual Analysis o f Poe's 1Valderaar' Trans, Geoff

Bennington, ifoung 135-158.

"Theory of the Text," Trans. Ian McLeod. Young 32-47.

B audrilla rd , Jean. "Forget B audrilla rd ." With Sylvere L otringer. For­

g e t Foucault / Forget B aud rllla rd . New York;

Sem iotext(e), 1987. 65-135.

- - - . Interview . With Catherine Franchlln . Trans. Nancy Blake.

Flash Art 130 (1986): 54-55.

- - - . Slmulacrea a t Simulation, P a ris ; E ditions Gslil&e, 1981.

- - - . Sim ulations. Trans, Paul Foss e t e l . New York:

SO niotcxt(e), 1983,

Begnal, Michael H ,, and F r i t s Senn, eds. A Conceptual Guide to

Finnegans Wake. U niversity Park: The Pennsylvania UP,

Catherine , C r itic a l P ra c tice , London: Methuen, 1980.

Benjamin, W alter. Charles Baudelaire: A Lyric Poet in the Era o f High

C apitalism . Trans. Harry Bohn. London: Verso, 1976.

The Origin of German Tragic Drama. Trans, John Osborne.New L eft Books

London: NLB, 1977.

David. "Parody, postmodernism, and the p o l i t ic s of r

ing ." C r itic a l Q uarterly 27,4 (1985): 27-43,

Andre, Faulkner’s As I Lay Dying. Trans. Roger L it t le .

1970. Bloomington: Indiana UP, 1973.

Bloom, Harold. Tha Anxloty of Influence: A Theory of Poetry. New

York: Oxford UP, 1973.

i A Mao of Misreading. New York: Oxford UP, 1975.

Bradbury, Malcolm. Introduction . In the Future P e rfe c t. By W alter

Abish. 1975. London: Faber, 1984. ix -x i i .

Brooke-Rose, C h ristina . A Rhetoric o f the Unraal: Studios in N arrative

and S truc tu re. E specia lly o f tha F a n ta s tic . Cambridge:

Cambridge UP, 1981.

Brooks, Cleanth. The Well Wrought Urn, New York: Harcourt Brace,

Buchloch, Benjamin H. D. "A llegorical Procedures: A ppropriation and

Montage in Contemporary A rt." Artforutn 21.1 (1982):

Burgess, Anthony. Jovsorick: An Introduction to the Language of

James Joyce. The Language L ibrary. London: Andre Deutsch,

Burroughs, William. "The Cut-Up Method of Brion G ysin." A William

Burroughs Reader. Ed. John Calder. London: Picador, 1982.

With Daniel Odier. The Job: Topical W ritings and In te r -

Michel. "Le L ivie Comma O bjat." Critique; Revue General*

das Publications Francoises IBS 096 2 ); 929-946.

Mary Ann. Tha Eve In the Text: Easava <

Har.norlat to Modern. Princeton: Princeton U

Rosalind , and John E ll i s . Language and Materialism: De­

velopments In Semioloev and the Theory of the Subjec t.

London: Routledge and Kagan Paul, 1977.

Jonathan. Barthes. Fontana Modern Masters, Glasgow;

Fontana, 1983,

On Deconstruct Theory and Criticism

S truc turalism . London: Routledge and Kegan Paul, 1983.

V alentine. "Renoving That Bible: The Absolute Text of

(Post)Modarnism.” The Theory of Reading. Ed. Frank

Gloversmith. Sussex: The Harvester P, 1984. 1-51.

.Smile, and Mitch Tuchman. Palm

His to ry o f the Hod Scene. 1940-1970. New York:

Abbeville P, 1984,

l-Gadtous: Capitalism and

Schizophrenia. Trans. Robert Hurley e

Athlon* P, 1984.

a l . London: The

G llle s . “P lato and the Simulacrum." Trans. Robert Kruass.

October 27 (1983): 45-36.

Paul. A llegories of Reading; P leural Language In Rousseau.

N ietzsche. Rilke and P roust. New Haven: Yale UP, 1979.

"The Rhetoric o f Tem porality." In te rp re ta tio n :

theory end P ra ctice . Ed. Charles S. Singleton , Baltimore:

Johns Hopkins UP, 1969. 173-209.

Jacques. Dissemination. Trans, Baroara Johnson. Chicago:

U of Chicago P, 1981.

Of Grammatology. Trsns. Gayatri Chakravorty Spivak.

Baltimore: Johns Hopkins UP, 1974,

"Limited Inc abc . . . . " Trans. Samuel Weber. Glyph II

(1977): 164-254.

"Signature Event Context." Trans. Je ffrey Hehlman and

Samuel Weber. Glyph I (1977): 172-197.

Sours: N ietzsche's S tyles / s'oerons: Les Styles de

N ietzsche. Trans, Barbara Harlow. French and English

te x ts . Chicago: Chicago UP, 1979,

La V^ritrf an Pein ture , P a ris: Flammarion, 1978.

W riting and Dlfferanc

Regis. "On Conversing: In/On W riting ,"

Terry. "Capitalism , Modernism

Umberto. "Towards a New Middle Ages." Trans.

Marshall Blonsky. Oxford: B asil Blt.ckwell,

‘N

irv of Sem iotics. H. tran s .

Maud. "Disremembering Dedalus: A P o r tra it

as a Young Man." Yeung 190-206.

SUvsliana. The L ite ra ry Speech Act: Don Juan w ith J . L.

Austin , o r Seduction In Two Languages. Trans. Catherine

Porter. Ithaca: Cornell UP, 1983.

"Turning the Screw of In te rp re ta tio n ." L ite ra tu re and

Psychoanalysis: The Question of Reading: Otherwise. Ed.

Shoshana Filman. Baltimore: Johns Hopkins UP, 1932.

Angus. Allegory: The Theory of a Symbolic M'xle. Ithaca:

Cornell UP, 1964.

Hal, ed. Postmodern C ulture . 1963. London: Pluto P, 1985.

"(Post)Hadorn Polemics.” New German C ritique 33 (1984);

"Subversive Signs." / n America 70.18 (1982)i 88-92.

Michel. The Order of Things: An Archaeology of the Hunan

Sciences. Trans. Alan Shorid.-.n. 1966. London: Tavistock,

This Is Not a Pipe. Trans. James Harkness. 1982. Berkeley:

C alifo rn ia UP, 1983.

Sigmund, "Family Romances." The Standard Bdil lon of the

Complete Psychological Works of Sigmund Freud. 26 vols.

Trans. James Serachey. London: The Hogarth P, 1959. 9:

Hoses and Monotheism: Three Essays. The Standard E dition

o f the Complete Psychological Works of Sigmund Freud. 24

vo ls. Trans. James Strachey. London: The Hogarth P, 1964.

"A Special Type o£ Choice of Object Hade by Men: Contrib­

utions to the Psychology of Love I ." The Standard Edition

o f ehe Complete Psychological Works. 24 vo ls . Trans. James

Strachey. London: The Hogarth P, 1957. 11: 165-175.

Totem and Taboo. The Standard Edition o f the Complete

Psychological Works. 24 vo ls. Trans. James Strachey.

London: The Hogarth P, 1955. 13: 1-162,

"The 'U n c a n n y 'The Standard Edition of the Complete

Psychological Works, 24 vo ls, Trane. James Strachey.

London: The Hogarth P, 1953. 17: 219-256.

Northrop, Anatomy of C riticism : Four Essays. 1957. New

Torn: Athene:# , 1967.

Jane. Feminism and Psychoanalysis: The D aughter's Seduc-

G ilb e rt , Sandra, and Susan Gubar. "Sexual L ingu istics : Gender,

Language and S exuality ." New L ite ra ry H isto ry . 15,3

(1985): 515-563.

Goldmann, Lucien. Pour una Socloloale du Roman. P a r is : G allinard ,

G oldstein , J . ?■ Pour L ire la Roman. P a ris : J . D uclot, 1980.

Guttnan, Samuel A ., w ith Stephen M, Parrish and Randall L. Jones.

Concordance to the Standard E dition o f the Complete Psy­

chological Works of Sigmund Freud. New York: In terna tional

H all, James. D ictionary of Subjects and Symbols in A rt, 1976,

Norwich: John Hurray, 1985.

H art, C live. A Concordance to Finnegans Wake. 1963. Corrected

ed. Hemaroneck, New York: Paul P. Appel, 1976,

Hartmann, Geoffrey H, "War in Heaven: A Review of Harold Bloom's The

Anxiety of Influence: A Theory of Poetry . " The Fate of

Reading and other essays. By Hartman. Chicago: U of

Chicago P, 1975, 61-56,

Hdssan, Ihab. P a racritlclsm s: Seven Speculations o f the Times.

Urbans I U of I l l in o is P, 1975.

" i ))

David, and v l l i o t t Anderson, eds. In the Wake of th e Wake,

Madison: U of Wisconsin P, 1978.

■ Stephen. "Language, l i t e r a tu re , m aterialism ." Sub-Stance

17 (1974): 57-74.

N ell. "Freud and the Sandman." Textual S tra te g ie s : Per­

spectives in P o s t-S tru c tu ra lis t C riticism . Sd. Josu^ V.

H ar/e rl. London: Methuen, 1980. 296-321.

Hutcheon, Linda. Narclss c N arrative: The M "tafIctional Paradox.

1980, London: Methuen, 1984,

A Theory of Parody; Teachings of Twentieth Century Art

Forms. New York: Methuen, 1985.

Andreas. "Mapping the Postmodern." New German C ritique 33

(1984): 5-52.

Roman. "Concluding Statement: L inguistics and P oetics."

S tyle in Language Ed. Thomas A. Sebeok. London: John

Wiley, 1960. 350-377.

"Two Aspects o f Language and Two Types of Aphasic Dis­

turbances. " Word and Language. Vol. 2 of The Selected

W ritings of Roman Jakobson. 6 vo ls. to da te , The Hague:

Houton, 1971, 239-259.

Jameson, Frederic . "Tha P o litic s o f Theory: Idoologlcel Positions

in tha Postmodernism Debate." New German C ritique 33

(1984)1 53-65.

"Postmodernism, o r the C ultura l Logic of Late Capitalism ."

New Left Review 146 (1984): 53-92.

'fhe Prison-House o f Language: k C r itic a l Account of

S tructuralism and Russian Formalism. Princeton: Princeton

J u li a . La Revolution Langeee Poatlqua

S euil, 1974ufcei’a t lireone: A S«mioUc_Jt

Postmodernism?. N. Bucknell Review 25.1 (1980):

Jacques, "Intervention on T ransference." Trans. Jaequeline

Rose, Feminine Sexuality: Jacques Lacan and the Scole

freudienne. By Lacan. Ed. J u l i e t M itchell and Jacqueline

Rose. Condon: Macmillan P, !982, 61"73.

"Of Structure as an Inmixing of an Otherness P re requ isite

to Any Subject Whatever.” The S tru c tu ra lia t Confroi'arsy:

The Languages of C r iti cism and the Sciences o f Man. Ed.

Richard Hacksey and Eugenio Donato. Baltimore: Johns

Hopkins UP, 1972. 186-200.

"La Seminatra aar 'La L ettre V o le s '." E c r lta . 2 v o ls .

P a ris: E ditions du Sauil, 1966. 1: 7-75,

"Subversion du su je t a t d ia lec tique du d ia lv dans

1 'ineonscien t freudlon ." S e r ie s . 2 vo ls . P a ris ;.E d itions

du Souil, 1971. 2: 151-191.

Dave. The Marxist Theory of A

temporary Capitalism . Sussex:

. Modern Theory and Con-

s Harvester P, 1978.

D aniel. Notes. Poesies. By St^phane Mallaria^. P a ris : La

Livre de Poche, 1977. 309-355.

David. The Modes of Modern W riting: Metaphor, Metonymy,

and the Typology of Modern L ite ra tu re . London: Edward

Lenhoff and Ronald Vroon. Michigan: Michigan UP, 1977.

Jean-Fran^ois. "Answering the Question: What Is

Postmodernism?." Trans. Regis Durand. The Postmodern Con­

d i t io n . By Lyotard. Trans. Geoff Bennington and Brian

Messumi. Manchester: Manchester UP, 1984. 71-82.

Madoff, Steven Hen y. "What Is Postmodern About Pa in ting?." Arts

Magazine 60.1 (1985): IK •121; 60.2 (1985): 59-64; 60.3

(1985): 68-73.

Louis. "Disneyland: A Degenerate Utopia." Glyph I I (1977):

Stephen W. "The Time of Exposure: A llegorica l Self-

Fortrdifcure in Cindy Sherman." A rts Magazine 6.5 (1966)i

Trans. Susan Fisher e t s i . Signs Taken

in the Sociology of L iterary Forms. B

S t ru c tu ra li s t A nalysis. Baltimore: Johns Hopkins UP, 1976.

John. 'W riting the W riting in Painting: Benjamin and

Warhol." Seminar paper. U o£ Cape Town, 1987.

i Charles, "The Post-Modern Aura: The Act o f F ic tio n i

Age of In fla tio n ." Salmagundi 63-64 (1984): 3-199,

Cra#g. "The A llegorica l Impulse: Toward a Theory of

Postmodernism," October 12 (1980): 67-84; 13 (1980):

W alter. "The School of G iorgione." The Ranalss

London: Macmillan, 1924. 135-161.

M arjorie. The Poetics o f Indater

Princeton: Princeton UP, 1981.

David. The Soft Machine: Cybernetic F ic tio n . New York:

Methuen, 1985.

Hark, Introduction , The Mirror of Production , By Jean

B audrilla rd. Trans, Hark Poster. S t. Louis: Telos P, 1975.

Maureen, The Language of Allegory: Defining 1

Ithaca: Cornell UP, 1979.

C arter. "D a li 's Dreadful Relevance,” Artforum 21,2 (1982):

"Joseph CoiueU: Mechanic of the In effab le ." Joseph

Coroall. Ed. Kynascon HcShine. New York: Museum of Modern

A rt, m o . 42-67.

Richards, Angela, comp. Indexes and BiblloBrflahJ.es. The Standard

E dition of the Complete Psychological Works of 3igmuctd

Freud■ 24 vo ls. London: The Hogarth p, 1974. 24.

R iffa te r ra , Michael. Semiotics o f Poetry. London: Methuen, 1978.

Rimmon-Kenan, Shiomith. Warrativa F ic tion : Canteaoorarv P oetics. London:

Methuen, 1983.

Roudlea, Leon S. Introduction . Desire In language: A Semiotlc Ap­

proach to L ite ra tu re and A rt. By Ju lia K risteva, Trans.

Thomas Gora e t a l . New York: Columbia UP, 1980. 1-20.

S ea rle , John R. "R eitera ting the D ifferences: k Reply to D errida,"

Glyph I (1977): 198-208.

S e ries , Michel. "Language and Space: From Oedipus to Zola,"

Hennas.’ Llcaraeure, Scianca, Philosophy. By Sevres. Trans.

Josue V. H arrari and David F, B all. Baltimore: Johns

Hopkins UP, 1982. 39-53.

Sm itten, Je ffrey R ., and Ann Daghistany, eds. Spa tia l Form in Nar­

r a t iv e . Ithaca: Cornell UP, 1981.

i /

N

Susan. "Notes on 'C a m p 'Against In ta rp re ta tlo n and other

e ssay . . By Sontag. London: Eyre and Spottiswoode, 1967.

"The Pornographic Imagination." Story of the Eve. By

Georges B a ta illo . Trans. Joachim Neugroschel. London:

Marion Boyars, 1979. 63-118,

George, Introduction , The Origin of German Tragic Drama,

By V alter Benjamin. Trans. John Osborne. London: NIB,

William York, A Reader's Guide to Finnegans Wake, New

York: F a rra r , Straus and Giroux, 1969.

Steven. Roland Barthes: The Professor o f D esire . Lincoln:

U of Nebraska P, 1963.

P a tr ic ia . M etafiction: The Theory and P ractice o f Self-

Conscious F ic tio n . London: Methuen, 19B4.

E lizabeth , Psychoanalytic C riticism : Theory in Practice

London: Methuen, 1984.

Robert, ed. Untying the Text: A P o s t-S tru c tu ra lis t

Reader. London: Routledge and Kagan Paul, 1981,

Author Du Plessis Michael DeonName of thesis Strings Of Language: Donald Barthelme And The Discourses Of Postmodernism. 1988

PUBLISHER:University of the Witwatersrand, Johannesburg ©2013

LEGAL NOTICES:

Copyright Notice: All materials on the Univers i ty of the Witwate rs rand, Johannesburg L ibrary website are protected by South African copyright law and may not be distributed, transmitted, displayed, or otherwise published in any format, without the prior written permission of the copyright owner.

Disclaimer and Terms of Use: Provided that you maintain all copyright and other notices contained therein, youmay download material (one machine readable copy and one print copy per page) for your personal and/or educational non-commercial use only.

The University of the Witwatersrand, Johannesburg, is not responsible for any errors or omissions and excludes anyand all liability for any errors in or omissions from the information on the Library website.

Author Du Plessis Michael Deon

Name of thesis Strings Of Language: Donald Barthelme And The Discourses Of Postmodernism. 1988

PUBLISHER: University of the Witwatersrand, Johannesburg

©2013

LEGAL NOTICES:

Copyright Notice: All materials on the Un i ve r s i t y o f the Wi twa te r s rand , Johannesbu rg L ib ra ry website are protected by South African copyright law and may not be distributed, transmitted, displayed, or otherwise published in any format, without the prior written permission of the copyright owner.

Disclaimer and Terms of Use: Provided that you maintain all copyright and other notices contained therein, you may download material (one machine readable copy and one print copy per page) for your personal and/or educational non-commercial use only.

The University of the Witwatersrand, Johannesburg, is not responsible for any errors or omissions and excludes any and all liability for any errors in or omissions from the information on the Library website.