scholarly journals The category of “unreliable narrator” in the novels of L. Eltang

2021 ◽  
pp. 460
Author(s):  
M. S. Mozzherina
Keyword(s):  
Unreliable Narrator

Manifestations of the bias of an unreliable narrator in novel by V. Domontovich “Doctor Serafikus”

2018 ◽  
pp. 132-138
Author(s):  
М. І. Підодвірна
Keyword(s):  
Narrative Analysis ◽  
Focal Point ◽  
Comprehensive Analysis ◽  
The Novel ◽  
Personal Interest ◽  
Cognitive Approach ◽  
Personal Story ◽  
Unreliable Narrator ◽  
German Researcher ◽  
Different Levels

The results and achievements of the main schools and directions of naratology indicate the need to reread both well-known and recondite texts in order to spell out the meanings. We believe that the narrative analysis of prose by Victor Domontovich (the Ukrainian intellectual writer) is interesting and relevant. The article attempts to characterize the manifestations of the bias of an unreliable narato in the novel “Doctor Seraficus” based on the A. Nyuninga’s cognitive approach. A modern German researcher provides a set of tools that can supplemented for a multidimensional consideration of all ambiguities and contradictions in the text. An intelligent game that unfolds in the text manifests itself at different levels. V. Domontovych conducts the biggest game, the game with meaning through the pending authority of unreliable presenter. The text of the novel consists of abstract reflections, notes, dreams, illusions, fantasies, dreams and retrospective journeys. The main law of the text is the game. Irony and contradictions in the narrator’s words encourage the reader to feel dissonance, uncertainty. Therefore, in a narrative analysis, attention is focused on the speaker and who sees (the focal point). It was investigated that the artist Corvin is the narrator of the novel “Doctor Serafikus”, he tries to give as much as possible objectively the personal story. The motives for the unreliability narration based on the personal interest and bias of the character are determined. We identified the main symptoms of the unreliability of the narrator in the work, and the different levels at which the corresponding narrative is expressed, are highlighted. It is established that an unreliable narrative forces distancing itself from a narrator and takes everything that has been said with caution and detachment. Detailed narrative analysis of the work sheds light on the meanings, which for some reason masked, and allows you to establish artistic functions of an unreliable narrator. We believe that understanding this phenomenon makes it possible to make a comprehensive analysis of artistic text.

Narratology

2019 ◽  
Author(s):  
Genevieve Liveley
Keyword(s):  
Reader Response ◽  
Literary Theory ◽  
Chicago School ◽  
Reception History ◽  
First Century ◽  
Unreliable Narrator ◽  
Affect And Cognition ◽  
History Of ◽  
Ars Poetica

This book explores the extraordinary contribution that classical poetics has made to twentieth- and twenty-first-century theories of narrative. Its aim is not to argue that modern narratologies simply present ‘old wine in new wineskins’, but to identify the diachronic affinities shared between ancient and modern stories about storytelling, recognizing that modern narratologists bring particular expertise to bear upon ancient literary theory and offer valuable insights into the interpretation of some notoriously difficult texts. By interrogating ancient and modern narratologies through the mutually imbricating dynamics of their reception it aims to arrive at a better understanding of both. Each chapter selects a key moment in the history of narratology on which to focus, zooming in from an overview of significant phases to look at core theories and texts—from the Russian formalists, Chicago school neo-Aristotelians, through the prestructuralists, structuralists, and poststructuralists, to the latest unnatural and antimimetic narratologists. The reception history that thus unfolds offers some remarkable plot twists. It unmasks Plato as an unreliable narrator and theorist, and offers a rare glimpse of Aristotle putting narrative theory into practice in the role of storyteller in his work On Poets. In Horace’s Ars Poetica and in the works of ancient scholia critics and commentators it locates a rhetorically conceived poetics and a sophisticated reader-response-based narratology evincing a keen interest in audience affect and cognition—and anticipating the cognitive turn in narratology’s mot recent postclassical phase.

Thinking Globally: Mandeville, Memory, and Mappaemundi

2018 ◽  
Vol 4 (2) ◽  
pp. 69-106
Author(s):  
John Wyatt Greenlee ◽  
Anna Fore Waymack
Keyword(s):  
Middle Ages ◽  
Fourteenth Century ◽  
Global Perspective ◽  
First Person ◽  
Unreliable Narrator ◽  
The World ◽  
Challenging Students ◽  
Person Account

In lieu of an abstract, here is a brief excerpt of the content: THE TRAVELS OF Sir John Mandeville, the fourteenth-century "first-person" account of a fictional English knight's adventurous journey to Jerusalem and across the world, is difficult to teach.1 Popular with medieval European audiences, the book troubles today's students with its confusing descriptions of global geography, its treatment of non-Christian, non-European peoples, and its constant conflation of fact and fable. But, as those who have taught it can attest, it can serve as a valuable tool for challenging students' preconceptions of an isolated European Middle Ages. It introduces them to an unreliable narrator and to tensions between the doctrines of the institutional Roman church and individual faith. The author's global perspective shows students a world of diverse religions, ethnicities, races, diets, customs, and sexualities. And the Travels does this while being relatively short and entertaining, pulling the reader through the map via its engaging narrative of landscaped vignettes.

Reconsidering the unreliable narrator

Semiotica ◽  
2007 ◽  
Vol 2007 (165) ◽  
Author(s):  
Per Krogh Hansen
Keyword(s):  
Unreliable Narrator

scholarly journals From Literary Fiction to Music: Schumann and the Unreliable Narrative

2020 ◽  
Vol 43 (3) ◽  
pp. 170-193
Author(s):  
Janet Schmalfeldt
Keyword(s):  
Feedback Loop ◽  
Literary Fiction ◽  
Theoretic Model ◽  
Heinrich Heine ◽  
Solo Piano ◽  
Unreliable Narrator ◽  
Jean Paul ◽  
Trace Back ◽  
The Voice ◽  
Better Than

The theoretic model of the “unreliable narrative” in fiction took flight in the early 1960s; it has since become a key concept in narratology, and an indispensable one. Simply put, first-person unreliable narrators are ones about whom we as readers, in collusion with the author, learn more than they know about themselves. Romantic precursors of modernist experiments in fiction—incipient cases of narrative unreliability—arise in the works of, among others, Jean Paul Richter and Heinrich Heine, two of Robert Schumann's favorite writers. In his early solo piano cycle, Papillons, op. 2, Schumann draws inspiration from Jean Paul's novel Flegeljahre, surely capturing something of the author's unreliably quirky literary style, in part through the strategy of tonal pairing. Whereas Schumann ultimately played down the programmatic elements of Papillons that trace back to the unpredictable Jean Paul, a genuine instance of the unreliable narrator is Heine's troubled poet-persona in Schumann's Dichterliebe. Here the composer invites us to perceive a second persona through the voice of the piano—one that understands the poet better than he does, and whose music reveals from the outset that rejection in love lies ahead. The emergence of narrative unreliability in fiction may have served as an influence that drove experimentation not only for Schumann but also for some of his contemporaries and successors. Debates about musical narrativity might profit from considering the recent literary concept of a “feedback loop,” in which the author, the narrator (text), and the narratee (reader)—in our case, the composer, the performer, and the listener (including analysts, performers, and composers, who are also intensive listeners)—continually and recursively interact.

The tragedy of the unreliable narrator in The Girl Chewing Gum

2012 ◽  
Vol 2 (2) ◽  
pp. 147-150
Author(s):  
Jennifer Proctor
Keyword(s):  
Chewing Gum ◽  
Unreliable Narrator

scholarly journals Kazuo Ishiguro’s The Remains of the Day: A Historiographical Approach

2015 ◽  
Vol 5 (4) ◽  
pp. 8
Author(s):  
Maha Abdel Moneim Emara
Keyword(s):  
First Person ◽  
Controversial Issues ◽  
Narrative Strategies ◽  
Historical Events ◽  
Unreliable Narrator ◽  
Depth And Complexity

<p>This paper attempts to analyze Kazuo Ishiguro’s <em>The Remains of the Day</em>, in the light of various ramifications of postmodern critical historiographical approaches. It investigates the different narrative strategies Ishiguro uses to narrate historical events and dismantle objectivity mainly; backshadowing, intermixing of historical and personal incidents, and first-person unreliable narrator. Great deal of Ishiguro’s text depth and complexity arises from the unreliability of the narrator whose narration presents several interpretive versions and controversial issues.</p>

scholarly journals Moving Picture, Lying Image: Unreliable Cinematic Narratives

2015 ◽  
Vol 10 (1) ◽  
pp. 89-104
Author(s):  
Tamás Csönge
Keyword(s):  
Stage Fright ◽  
First Person ◽  
Written Discourse ◽  
Visual Narratives ◽  
Scholarly Literature ◽  
Unreliable Narrator ◽  
Cinematic Narratives ◽  
The Subject ◽  
Wayne Booth

Abstract By coining the term “unreliable narrator” Wayne Booth hypothesized another agent in his model besides the author, the implicit author, to explain the double coding of narratives where a distorted view of reality and the exposure of this distortion are presented simultaneously. The article deals with the applicability of the concept in visual narratives. Since unreliability is traditionally considered to be intertwined with first person narratives, it works through subjective mediators. According to scholarly literature on the subject, the narrator has to be strongly characterized, or in other words, anthropomorphized. In the case of film, the main problem is that the narrator is either missing or the narration cannot be attributed entirely to them. There is a medial rupture where the apparatus mediates the story instead of a character’s oral or written discourse. The present paper focuses on some important but overlooked questions about the nature of cinematic storytelling through a re-examination of |the lying flashback in Alfred Hitchcock's Stage Fright. Can a character-narrator control the images the viewer sees? How can the filmic image still be unreliable without having an anthropomorphic narrator? How useful is the term focalization when we are dealing with embedded character-narratives in film?

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