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PUBLISHED VERSION Maggie Tonkin From 'Peter Panic' to proto-modernism: the case of J.M. Barrie Changing the Victorian Subject, 2014 / Tonkin, M., Treagus, M., Seys, M., Crozier De Rosa, S. (ed./s), pp.259-281 © 2014 The Contributors This work is licenced under the Creative Commons Attribution- NonCommercial- NoDerivatives 4.0 International (CC BY-NC-ND 4.0) License. To view a copy of this licence, visit http://creativecommons.org/licenses/by-nc-nd/4.0 or send a letter to Creative Commons, 444 Castro Street, Suite 900, Mountain View, California, 94041, USA. This licence allows for the copying, distribution, display and performance of this work for non-commercial purposes providing the work is clearly attributed to the copyright holders. Address all inquiries to the Director at the above address. PERMISSIONS http://creativecommons.org/licenses/by-nc-nd/4.0/ http://hdl.handle.net/2440/84284 13 From ‘Peter Panic’ to proto-Modernism: the case of J.M. Barrie Maggie Tonkin The author may be dead as far as Roland Barthes is concerned, but the news is yet to hit the street. Probably nothing speaks more loudly of the gap between academic literary criticism and the culture of reading outside the academy than the latter’s continuing obsession with the author. Barthes’s claim that the author is neither the originator nor the final determiner of textual meaning has assumed the status of orthodoxy in scholarly poetics. Whilst the early austerity has faded somewhat, such that discussion of the historical specificity of the author is no longer scorned in literary studies, the Romantic privileging of the author as the ‘fully intentional, fully sentient source of the literary text, as authority for and limitation on the “proliferating” meanings of the text’, as Andrew Bennett puts it (55), has never regained its former currency.
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