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Fragments and Meaning in Traditional SongFrom the Blues to the Baltic$
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Fragments and Meaning in Traditional Song: From the Blues to the Baltic

Mary-Ann Constantine and Gerald Porter

Print publication date: 2003

Print ISBN-13: 9780197262887

Published to British Academy Scholarship Online: January 2012

DOI: 10.5871/bacad/9780197262887.001.0001

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PRINTED FROM BRITISH ACADEMY SCHOLARSHIP ONLINE (www.britishacademy.universitypressscholarship.com). (c) Copyright British Academy, 2021. All Rights Reserved. An individual user may print out a PDF of a single chapter of a monograph in BASO for personal use.date: 27 October 2021

The intertextuality of the song fragment

The intertextuality of the song fragment

Chapter:
(p.186) (p.187) 8 The intertextuality of the song fragment
Source:
Fragments and Meaning in Traditional Song
Author(s):

Mary-Ann Constantine

Gerald Porter

Publisher:
British Academy
DOI:10.5871/bacad/9780197262887.003.0009

This chapter discusses the way song fragments function in the work of four novelists: James Joyce, D.H. Lawrence, Christina Stead, and Charles Dickens. It considers silencing, particularly of women, as an aspect of fragmentation. It shows that women have long been associated with silence, despite having a cultural stereotype of garrulousness. The chapter also determines that intertexts empower the reader due to the ‘multi-accentuality’ of cultural texts and practices.

Keywords:   song fragments, silencing, cultural stereotypes, intertexts, women, cultural texts, cultural practices

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