附註:Includes bibliographical references (pages 249-263) and index.
Introduction: Lavish Self-Divisions: The Novels of Joyce Carol Oates -- pt. 1. Anxious Authorship in the 1960s: Daughters Leaving Home. 1. Not Strictly Parallel: The Sacrificial Plots of Daughters and Sons in With Shuddering Fall. 2. Yeats's Daughter: Images of "Leda and the Swan" in the Trilogy of the 1960s. 3. "The Central Nervous System of America": The Writer in/as the Crowd in Wonderland -- pt. 2. Dialogic Authorship in the 1970s: Marriage and Infidelities. 4. Marriage as Novel: Beyond the Conventions of Romance and Law in Do with Me What You Will. 5. Wedding a (Woman) Writer's Voices: Dis-membering the "I" in The Assassins, Re-membering "Us" in Childwold. 6. Self-Narrating Woman: Marriage as Emancipatory Metaphor in Unholy Loves -- pt. 3. Communal Authorship in the 1980s: The (M)other in Us. 7. Daughters of the American Revolution: "Idiosyncratic" Narrators in Three Postmodern Novels.
摘要:Joyce Carol Oates's authorial voice is lavishly diverse. In her works she divides herself into many voices, many persons. This up-to-date examination of Oates's novels argues that the father-identified daughters in her early novels have become, in the novels of the 1980s, self-authoring women who seek alliances with their culturally devalued mothers. Oates's struggle to resist and transform male-defined literary conventions is often mirrored by the struggles of her female characters to resist and transform social conventions.
