摘要
自从茱莉亚克里斯蒂娃在20世纪60年代创造性地提出“互文性”一词语，互文性作为一种现代批评理论经过众多理论家的发展与完善，逐渐成为现代批评和创造理论中不可缺少的一员。在其发展过程中，虽然有过一些细小的分歧，互文性理论的核心是一致的。克里斯蒂娃、罗兰巴特、热奈特等理论家一致认为在互文性理论下，任何文本都不是一个孤立的存在，任何文本一定程度上都是互文本。因此，对某一文本的解读就不再限于这一单个文本，而是可以借助于其它文本或资料作为参考。由此作者的权威性降低，读者利用自己的知识背景建立起一张互文之网来进行自己创造性的解读。无数的学者利用互文理论对作品进行研究，同时也有不少作家选择运用互文性进行文学创作。
珍妮特温特森因其作品的实验性为读者所熟知，她的多部作品都带有明显的互文性。温特森结合自己对艺术创作的思考以及深厚的文学底蕴，把作品编织成一张张错综复杂的庞大互文之网，形成鲜明的写作风格。本文旨在分析她的三部作品《橘子不是唯一的水果》、《苹果笔记本》和《守望灯塔》中的互文性以及她是如何通过把前人的作品借为己用来打破父权制度，质疑“正常”的性观念以及强调世界的多样性。
本论文共有五章。第一章简要介绍了珍妮特温特森的生平、文学创作，回顾了她的作品尤其是这三部小说的国内外研究现状，并概述了互文性理论的发展演变。第二章探索了《橘子不少唯一的水果》与圣经、“美女与野兽”、“小红帽”以及《简爱》的互文性及其意义。第三章讨论了《苹果笔记本》与《亚瑟王之死》、《神曲》以及温特森自己之前的作品《写在身体上》的互文关系。第四章分析了《守望灯塔》与达尔文《物种起源》、斯蒂文森的《化身博士》以及伍尔夫的《到灯塔去》如何形成互文。第五章为结语部分，进一步综述了温特森这三部作品中的互文性及其意义。
Intertextuality, as a modern criticism theory, ever since Julia Kristeva coined it in the1960s, has undergone several periods of development with the help of different scholars.Whatever changes may take place, the core of the term remains constant. Most of thescholars, such as Julia Kristeva, Roland Barthes, Gérard Genette and so on, hold that allthe texts belong to a system of signs, which are open rather than closed. Therefore, theinterpretation of a text is no longer limited to one single text and other texts, sources ormaterials can be used as reference. In this way, the authority of the author is challengedand readers are offered more originality to appreciate the text within the network ofintertextuality based on their knowledge background. Research works applying the theoryof intertextulaity are countless. At the same time, many writers choose to put the theoryinto practice to compose their literary works.
Jeanette Winterson is renowned for her experimental writing techniques. Shefrequently puts intertextuality into practice in composing her works. This thesis aims atanalyzing Winterson’s use of intertextuality in her three novels Oranges Are Not the OnlyFruit (1985), The PowerBook (2000) and Lighthousekeeping (2004). Throughintertextulaity, on the one hand, Winterson forms and develops her own composition style;more importantly, she appropriates well-established texts for her own use to break thepatriarchal order, to question the concept of a normal sexuality and advocate loving againstthe odds, and to highlight the multiplicity of the world.
This thesis consists of five chapters. Chapter One includes a brief introduction toJeanette Winterson and her literary career, literature review of the three texts and anoverview of the evolution of the theory of intertextuality. Chapter Two deals withWinterson’s intertextual use of the Bible,“Beauty and the Beast”,“The Red Riding Hood”and Charlotte Bront’s Jane Eyre in Oranges Are Not the Only Fruit. Chapter Threediscusses three major intertexts in The PowerBook, respectively Sir Thomas Malory’s LeMorte d’Arthur, Dante’s The Divine Comedy and Jeanette Winterson’s own Written on theBody. Chapter Four makes analysis of the three major intertexts in Lighthousekeeping,which are Charles Darwin’s On the Origin of Species, Robert Louis Stevenson’s TheStrange Case of Dr. Jekyll and Mr. Hyde and Virginia Woolf’s To the Lighthouse. Chapter Five is the Conclusion.
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