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    The Author’s Doppelgänger: Celebrity, Canonicity, and the Anxiety of the Literary Marketplace in the Contemporary Novel

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    Genre
    Thesis/Dissertation
    Date
    2016
    Author
    Partyja, Jaclyn
    Advisor
    Lee, Sue-Im, 1969-
    Committee member
    Gauch, Suzanne, 1965-
    English, James F., 1958-
    Darling-Wolf, Fabienne
    Department
    English
    Subject
    Literature, English
    Literature
    Literature, Modern
    Authorship
    Celebrity
    Contemporary Literature
    Media Studies
    Metafiction
    Narrative Theory
    Permanent link to this record
    http://hdl.handle.net/20.500.12613/2109
    
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    DOI
    http://dx.doi.org/10.34944/dspace/2091
    Abstract
    This dissertation investigates how and why contemporary canonical authors such as Vladimir Nabokov, Philip Roth, J.M. Coetzee, and Salman Rushdie incorporate their celebrity and canonical status as authors into the fictional worlds of their novels. The contemporary celebrity author in general is at the mercy of a more globalized publication industry that depends on a circuit of international circulation, translation, and the diverse reactions of a transnational readership. More specifically, each of the authors I focus on in this dissertation have become notorious, both for their professional literary achievements as well as various political or sexual scandals running alongside their publication history. The decentralization of the author’s power to control his own image as it becomes stratified across a multiplicity of competing discourses, audiences, and marketplaces is spurred on by a literary marketplace that favors world literature, international circulation, and the whims of readership response. Thus, the need to revise or challenge the public perception of their authorship is constantly at stake for these figures – so much so that they introduce doppelgänger versions of themselves into their fiction to negotiate this relationship. I argue that the hybrid-generic form of autobiographical-metafiction allows these authors to integrate this struggle for authority over their own authorship into both the form and content of their fictional worlds. Ultimately, the project of tracing different iterations of the doppelgänger novelist across national and historical markers helps us formulate a contemporary theory of authorship that asserts how the “author” must always operate in a liminal space between the constructed fictional world and the real historical world.
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