Postures et impostures narratives dans Expiation, de Ian McEwan (2001)

Littérature ◽  
2021 ◽  
Vol N° 202 (2) ◽  
pp. 72-82
Author(s):  
Jean-Pierre Naugrette
Keyword(s):  
Ian Mcewan

Identifying Ethics: Dysfunction as Representation of Societal Relationship in Ian McEwans’s Sweet Tooth

Think India ◽  
2019 ◽  
Vol 22 (2) ◽  
pp. 1-6
Author(s):  
A. Yacob ◽  
S. Veeramani
Keyword(s):  
Code Of Conduct ◽  
The Self ◽  
The Other ◽  
Ethical Code ◽  
The Novel ◽  
Field Of Study ◽  
Research Article ◽  
Ian Mcewan

In the novel, Sweet Tooth, McEwan has employed an ethical code of conduct called, Dysfunction of Relationship. The analysis shows that he tries to convey something extraordinary to the readers. If it is not even the reader to understand such a typical thing, He himself represents a new ethical code of conduct. The character of the novel, Serena is almost a person who is tuned to such a distinct one. It is clear that the character of this type is purely representational. Understanding reality based on situation and ethics has been a new field of study in terms of Post- Theory. Intervening to such aspect of Interpretation, this research article establishes a new study in the writings of Ian McEwan. In the novel, Dysfunction is not on the ‘Self’ but it is on the ‘Other’. The author tries to integrate the function of the Character Serena, instead of fragmenting the self. Hence, Fragmentation makes sense only in the dysfunction of relationship.

Ian McEwan, 'Saturday'

2006 ◽  
Author(s):  
Jose Angel Garcia Landa
Keyword(s):  
Ian Mcewan

Discrepant Solace

2019 ◽  
Author(s):  
David James
Keyword(s):  
Literary History ◽  
Doris Lessing ◽  
Kazuo Ishiguro ◽  
Joan Didion ◽  
Julian Barnes ◽  
Ethical Implications ◽  
History Of ◽  
Late Twentieth ◽  
Ian Mcewan ◽  
Affective Meanings

Consolation has always played an uncomfortable part in the literary history of loss. But in recent decades its affective meanings and ethical implications have been recast by narratives that appear to foil solace altogether. Illuminating this striking archive, Discrepant Solace considers writers who engage with consolation not as an aesthetic salve but as an enduring problematic for late twentieth- and twenty-first-century fiction and memoir. Making close readings of emotion crucial to understanding literature’s work in the precarious present, David James examines writers who are rarely considered in conversation, including Sonali Deraniyagala, Colson Whitehead, Cormac McCarthy, W.G. Sebald, Doris Lessing, Joan Didion, J. M. Coetzee, Marilynne Robinson, Julian Barnes, Helen Macdonald, Ian McEwan, Colm Tóibín, Kazuo Ishiguro, Denise Riley, and David Grossman. These figures overturn critical suppositions about consolation’s kinship with ideological complaisance or dubious distraction, producing unsettling perceptions of solace that shape the formal and political contours of their writing.

scholarly journals ‘Your duplicitous point of view’: Delayed revelations of hypothetical focalisation in Ian McEwan’s Atonement and Sweet Tooth

2021 ◽  
pp. 096394702110097
Author(s):  
Naomi Adam
Keyword(s):  
Case Studies ◽  
21St Century ◽  
Possible Worlds ◽  
Point Of View ◽  
Theoretical Frameworks ◽  
Possible Worlds Theory ◽  
Ian Mcewan

Framed by cognitive-poetic and possible worlds theories, this article explores two 21st century novels by the British postmodernist author Ian McEwan. Building upon Ryan’s (1991) seminal conceptualisation of the theory in relation to literature and using the novels as case studies, possible worlds theory is used to explain the unique and destabilising stylistic effects at play in the texts, which result in a ‘duplicitous point of view’ and consequent disorientation for the reader. With reference to the stylistically deviant texts of McEwan, it is argued that revisions to current theoretical frameworks are warranted. Most significantly, the concepts of suppositious text-possible worlds and (total) frame readjustment are introduced. Further to this, neuropsychiatric research is applied to the novels, highlighting the potential for interdisciplinary overlap in the study of narrative focalisation. It is concluded that the duplicity integral to both novels’ themes and texture is effected through artful use of hypothetical focalisation and suppositious text-possible worlds.

scholarly journals Memória, culpa e redenção em Atonement, de Ian McEwan

2016 ◽  
Vol 45 (3) ◽  
pp. 1256
Author(s):  
Isaías Eliseu Da Silva
Keyword(s):  
Ian Mcewan

Este trabalho tem como objetivo analisar o romance Atonement, de Ian McEwan, e apontar como a memória atua na elaboração da estratégia narrativa utilizada pelo autor e no processo de culpa e redenção da protagonista. Na obra, a memória é preponderante para a movimentação do enredo e somente através dela o efeito estético é alcançado, pois as aventuras, as peripécias e o desenlace dependem fundamentalmente daquilo que passa pelo crivo do inconsciente de Briony, a personagem principal. A metodologia consiste em análise do romance sob o ponto de vista da teoria de Freud sobre a memória e os estudos de Miriam Chnaiderman, Terry Eagleton, Luiz Alfredo Garcia-Roza e Renato Mezan.

scholarly journals Direito e literatura: reflexões interdisciplinares a partir da obra "The Children Act", de Ian McEwan

2017 ◽  
Vol 2 (2) ◽  
pp. 433 ◽  
Author(s):  
Cássia Escoza
Keyword(s):  
Ian Mcewan

Este estudo aborda o romance The Children Act (2014), de Ian McEwan, e procura analisar como o autor reconstrói discursivamente a esfera jurídica no campo ficcional. A sondagem das relações entre realidade e ficção viabiliza questionamentos sobre referências sociais, especialmente da maneira pela qual a narrativa produz sentidos no âmbito sociocultural e recria a política econômica da atualidade. Além disso, o artigo verifica a relevância da literatura como possibilidade de reflexão crítica sobre o Direito.

scholarly journals Is my body out of date? The drag of physicality in the digital age

IDEA JOURNAL ◽  
2020 ◽  
Vol 17 (02) ◽  
pp. 289-325
Author(s):  
Elly Clarke
Keyword(s):  
Human Computer Interaction ◽  
Video Communications ◽  
Time Consciousness ◽  
The Third ◽  
Body Of Knowledge ◽  
Karen Barad ◽  
Temporal Coupling ◽  
Video Documentation ◽  
Ian Mcewan ◽  
Gilbert Simondon

At the 2019 Body of Knowledge Conference at Deakin University, I presented the third episode of performance-lecture series ‘Is My Body Out of Date?’ in collaboration with Melbourne-based artists Bon Mott and Sean Miles. Punctuated by quotes and phrases from a range of theorists, writers and artists including Karen Barad, Caroline Bassett, Laboria Cuboniks, Ian McEwan, Oscar Wilde, Yon Heong Tung, ETA Hoffman, Gilbert Simondon, and my drag character #Sergina, the performance (struck) poses (around) the question of whether, in a world that is increasingly managed and experienced online, our bodies, as our primary mode of interaction, may be beginning to feel out of date. Is our desire for sweaty, messy, fleshy physical co-presence out of whack with the agility, efficiency and value of our algorithms? Performed live at a laptop with Mott and Miles as physical #BackupBodies for my own body that didn’t fly from London for ecological reasons, this physical/digital screenshare performance wove in video documentation from previous #Sergina performances in order to confuse and conflate what was happening now, and what already happened, what was live and what was pre-recorded. Here we played with issues of perception, presence, liveness and the fantasy of the (ex)changeability of identity and ‘drag’ (performance) of physicality within an ever-shifting media present. What follows is a visual essay constructed out of the digital remnants of the performance: a (trans)script, a screen recording, screenshots and links to media located beyond the template of the text. The visual essay touches on key conference themes such as virtual embodiment, human/computer interaction, temporal coupling and time consciousness, knowledge-transfer and how technology affects the way we move, think and desire. Furthermore, the templates of Zoom video communications, of the laptop screen, of Chrome and the wider digital/physical conference model that hosted, directed (and dictated) the boundaries of our presentation reflect on the influence of design, layout and digit/al choreographies on the shaping and ordering of thought, knowledge and embodiment.

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