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Journal articles on the topic 'I an McEwan'

Author: Grafiati

Published: 5 June 2025

Last updated: 2 August 2025

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1

Aadil Zeffer and Tahir Zaffar. "IAN McEwan’s Depiction of World as a Dystopian Social Space." East Asian Journal of Multidisciplinary Research 2, no. 2 (2023): 557–68. http://dx.doi.org/10.55927/eajmr.v2i2.2649.

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This paper aims to study Ian McEwan’s presentation of the world as a dystopian social space. McEwan paints an ugly picture of the present times and gives a warning to contemporary society against the inhuman cruelties that rock it every moment. The present world confronts alienation, anxiety, fear and death etc. on a daily basis and the fundamental role is played by fiction in expressing such experiences. The novels of McEwan present a bleak and dystopian picture before the readers as the things are going in a horrible direction. It can be inferred that McEwan is trying to bring home the idea

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2

Zhang, Dandan. "Unnatural narratives, Brexit and ideology in Ian McEwan’s The Cockroach." Frontiers of Narrative Studies 7, no. 1 (2021): 124–46. http://dx.doi.org/10.1515/fns-2021-0007.

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Abstract Against the backdrop of sudden shifts in global political and historical climate, our century has witnessed a convergence of turns in humanities, including the nonhuman turn and the historical turn. Ian McEwan’s latest novella, The Cockroach, is a just work along this line. Through the use of unnatural narratives within realistic context, McEwan presents readers with a world that is both strange and recognisable. By examining the unnatural narrative strategies, including the deployment of nonhuman character and omniscient narrator, McEwan expresses concerns for the future of humanity

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3

He, Jingyi. "On Violence Writing in Ian McEwan’s Saturday." Education, Language and Sociology Research 5, no. 1 (2024): p114. http://dx.doi.org/10.22158/elsr.v5n1p114.

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Ian McEwan is one of the most preeminent contemporary British writers. His masterpiece Saturday is longlisted for the 2005 Booker Prize. Revolving around the protagonist Perowne’s one-day life, the novel portrays a realistic picture of British society after the “9·11” terrorist attack. So far, scholars have interpreted Saturday from the perspective of space, trauma, intertextuality, culture, and ethics, while few studies have touched upon the violence writing in this novel. Therefore, this paper will explore the manifestations and roots of direct, structural and cultural violence in Saturday b

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4

Tan, Ian. "Literary Phenomenology and the Historicity of the Lifeworld: Personal and Public Crisis in Edmund Husserl and Ian McEwan." Texas Studies in Literature and Language 67, no. 1 (2025): 51–70. https://doi.org/10.1353/tsl.00004.

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Abstract: This essay argues for the relevance of Edmund Husserl’s transcendental phenomenological method as applied to Ian McEwan’s presentation of private crisis and public history in his novel Lessons . Both Husserl and McEwan advocate for the judicious use of reason and rational inquiry in the direction of politics and culture. I demonstrate how McEwan’s literary representation of consciousness in the context of a life lived amid historical change draws near to a practice of phenomenology, while also probing some difficulties in achieving the neutrality of the transcendental standpoint beca

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5

Borcsa, Maria. "Ian McEwan: Nussschale." PiD - Psychotherapie im Dialog 18, no. 02 (2017): 118. http://dx.doi.org/10.1055/s-0043-103846.

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6

Rozanov, Maksim A. "Formation of Ian McEwan’s artistic perspectivism." Semiotic studies 5, no. 2 (2025): 70–78. https://doi.org/10.18287/2782-2966-2025-5-2-70-78.

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Artistic perspectivism is considered to be the author’s value-based creative will. From this perspective, we analyse the formation of Ian McEwan’s specific perspectivism based on his first novels The Cement Garden and The Comfort of Strangers. In addition, the connection between the writer’s value orientation embodied in the above-mentioned works and his non-creative consciousness is considered. This connection explains the significance of the category of the boundary for I. McEwan’s artistic perspectivism. In the writer’s debut novel, his anti-Rousseau positions are revealed – I. McEwan consi

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7

Sergio, Schargel. "Resenha: MCEWAN, Ian. A barata. Trad. Jorio Dauster. São Paulo: Companhia das Letras, 2020." Via Litterae [ISSN 2176-6800] - Revista de Linguística e Teoria Literária 14, e1400 (2022): 01–07. https://doi.org/10.5281/zenodo.10432904.

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Resenha: MCEWAN, Ian. <em>A barata</em>. Trad. Jorio Dauster. São Paulo: Companhia das Letras, 2020. Review: MCEWAN, Ian. <em>A barata</em>. Trad. Jorio Dauster. São Paulo: Companhia das Letras, 2020.

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8

Singh, Shivani. "Glimpses of Id Domination and Abreaction in Ian McEwan’s First Love, Last Rites." SMART MOVES JOURNAL IJELLH 8, no. 1 (2020): 10. http://dx.doi.org/10.24113/ijellh.v8i1.10333.

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First Love, Last Rites, a collection of short stories by Ian McEwan was published in 1975. This was the first work written by McEwan that consist eight short stories with estranged and perplexed themes. Ian McEwan received a mixed reaction of criticism as well as appreciation by the readers. The stories are usually of fifteen to twenty pages with the following titles – “Solid Geometry”, “Homemade”, “Last Day of Summer”, “Cocker at the Theatre”, “Butterflies”, “Conversation with a Cupboard Man” and “First Love, Last Rites” and “Disguise”. The author has also included a short story named after t

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9

Nóbrega, Caio Antônio, and Genilda Azerêdo. "Estratégias metaficcionais em narrativas de Ian McEwan." Revista Odisseia 2, no. 2 (2017): 3. http://dx.doi.org/10.21680/1983-2435.2017v2n2id11020.

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Neste artigo, direcionamos nossa atenção para quatro romances do escritor inglês Ian McEwan – The Cement Garden, The Innocent, Enduring Love e Atonement –, a fim de rastrearmos recursos de criação metaficcional utilizados na composição destas narrativas. Ao fazer uso de estratégias como mise en abyme, paródia, e ao tematizar os processos de escrita e leitura, inserindo personagens que atuam como leitores e/ou escritores, McEwan inscreve em tais textos literários problematizações sobre sua própria construção ficcional e seu status de ficção. Concluímos que os quatro romances discutidos atestam

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10

Krasavchenko, Tatiana N. "Shakespearean Tradition in the Contemporary British Novel: Ian MсEwan". Studia Litterarum 9, № 3 (2024): 198–215. http://dx.doi.org/10.22455/2500-4247-2024-9-3-198-215.

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Ian McEwan (born 1948), one of the most outstanding contemporary British writers, is brought to the literary forefront thanks to the current social, ethical issues and aesthetic virtues of his works and belonging to the New Time British Gothic tradition whose foundations were laid by Shakespeare and his younger contemporaries (John Webster, John Ford, et al.). One finds basic topoi of literary Gothic in their tragedies: horror as an inescapable component of human existence; evil and villains who violate the moral norm in society; castle as a setting; fatal secret; supernatural element; motives

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11

Kayalvizhi, Catherine. "Angst and Resilience in Ian McEwan’s Solar: An Ecocritical Analysis." Shanlax International Journal of English 12, S1-Feb (2024): 101–7. http://dx.doi.org/10.34293/english.v12is1-feb.7455.

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Ian McEwan’s novel Solar presents a compelling narrative that intertwines themes of environmental degradation, personal struggles, and resilience. Set against the backdrop of the urgent global issue of climate change, the novel follows the tumultuous life of its protagonist, Michael Beard, a physicist whose personal and professional life is rife with moral dilemmas and ethical shortcomings. Through Beard’s journey, McEwan skilfully explores the complex interplay between humanity’s impact on the environment and the internal struggles faced by individuals grappling with their own flaws and vulne

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12

Šaru, Tamara S. "IAN McEWAN. 2010. SOLAR." ZBORNIK ZA JEZIKE I KNJIŽEVNOSTI FILOZOFSKOG FAKULTETA U NOVOM SADU 4, no. 4 (2014): 237. http://dx.doi.org/10.19090/zjik.2014.4.237-240.

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13

Borrero, Luis Alberto. "Colin McEwan (1951-2020)." InterSecciones en Antropología 21, no. 1 (2020): 115–16. http://dx.doi.org/10.37176/iea.21.1.2020.544.

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14

Hughes, Tom A. T. "Saturday, by Ian McEwan." Practical Neurology 18, no. 5 (2018): 429. http://dx.doi.org/10.1136/practneurol-2018-001946.

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15

Illsley, Raymond. "Retirement of Peter McEwan." Social Science & Medicine 42, no. 1 (1996): 1–2. http://dx.doi.org/10.1016/s0277-9536(96)90223-3.

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16

Vickery, Vernon R. "Douglas Keith McEwan Kevan." American Entomologist 37, no. 4 (1991): 253–54. http://dx.doi.org/10.1093/ae/37.4.253.

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17

Porée, Marc. "Ian McEwan, Le cafard." La Nouvelle Revue française N° 644, no. 5 (2020): 159–61. https://doi.org/10.3917/nrf.644.0159.

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18

Koron, Alenka. "Narrative space in Ian McEwan’s Saturday: A narratological perspective." Frontiers of Narrative Studies 4, no. 2 (2018): 359–73. http://dx.doi.org/10.1515/fns-2018-0028.

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AbstractAlthough the work of Ian McEwan, one of the most important modern British writers, has been quite thoroughly researched, the narrative space was rarely the subject of narratological treatment. This article tackles a close reading of McEwan’s novel Saturday from a narratological perspective testing the applicability of a series of spatial categories systematized by Marie-Laure Ryan in the already existing narratological tradition and in her own research in narrative space. At the macro level of the story, the circular structure of the novel and the concepts of space as a container and s

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19

Faizullina, R. "National and psychological aspects of the corporeality in the novella “On Chesil Beach” by I. McEwan." Philology and Culture, no. 2 (June 25, 2024): 220–25. http://dx.doi.org/10.26907/2782-4756-2024-76-2-220-225.

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This article studies the national and psychological aspects of corporeality in the novella “On Chesil Beach” (2007) by I. McEwan. The research identifies the existence of national specificity of the bodily and finds ways to convey this in literature. The main themes of the novella are the prohibition of a frank conversation about sexual anxieties, the difference of temperaments and the motif of shame. The novella presents the “borderline” era of English society in the 1960s, the time when ignorance of one’s body and naïveté negatively affected human destinies. The awareness of one’s own physic

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20

Pastoor, Charles Cornelius. "Authorial Atonement in Ian McEwan’s Atonement and Sweet Tooth." Christianity & Literature 68, no. 2 (2018): 297–310. http://dx.doi.org/10.1177/0148333118794017.

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Ian’s McEwan’s 2001 novel Atonement ends with a question: “how can a novelist achieve atonement when, with her absolute power of deciding outcomes, she is also God?” (350). And it concludes, in response to this question, that there “There is … No atonement for God, or novelists, even if they are atheists” (350–51). I consider in the first part of this article what leads Briony Tallis, the novel’s fictive author, to this bleak conclusion. In the second part I consider how McEwan takes up the question again in his 2012 novel Sweet Tooth and how he arrives at a more hopeful answer.

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21

Mohammad Jibraan Fazili and Aadil Zeffer. "Discomfort in Ian McEwan’s The Comfort of Strangers." East Asian Journal of Multidisciplinary Research 1, no. 10 (2022): 2301–12. http://dx.doi.org/10.55927/eajmr.v1i10.1441.

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This paper aims to study the discomfort experienced by characters in Ian McEwan’s (1948-Present) novel, The Comfort of Strangers (1981). In the novel, the whole scenario presents a bleak picture before the readers and one can easily guess that the things are going in a horrible direction. The paper further studies that in the contemporary milieu, the anguish, cruelty, selfishness, discomfort, decomposition and death has spread everywhere. The life has lost meaning in its true sense and every entity of the planet seems at stake. McEwan explores the world of crisis and its persistent effect on c

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22

Davies, Peter. "Review: John McEwan, William Gear." Art Book 11, no. 3 (2004): 30–31. http://dx.doi.org/10.1111/j.1467-8357.2004.00436.x.

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23

O’Rourke, Meghan. "Ian McEwan & David Mitchell." Yale Review 90, no. 3 (2008): 159–69. http://dx.doi.org/10.1111/0044-0124.00643.

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24

Schneider, Raymond J. "Interview:A conversation with Geraldine McEwan." Literature in Performance 5, no. 2 (1985): 56–67. http://dx.doi.org/10.1080/10462938509391584.

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25

Rozanov, M. A. "IAN MCEWAN’S IRONIC PERSPECTIVISM." Culture and Text, no. 58 (2024): 189–205. http://dx.doi.org/10.37386/2305-4077-2024-3-189-205.

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Ironic perspectivism defined in this article as artistic reflection on the boundaries and possibilities of overcoming limitations is a significant phenomenon for English literature at the turn of the 20th and 21st centuries. It is embodied primarily in the study of forms of non-ironic consciousness, limited by confidence in its own positions and not attempting or unable to go beyond them and comprehend its relationship with the world. The aim of the article is to determine the specifics of ironic perspectivism in I. McEwan’s novels based on the material of the works «Amsterdam» and «Atonement»

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26

Lazić, Katarina. "IRONIJA I PARODIJA U DELU „ISKUPLjENjE“ IJANA MEKJUANA." Lipar XXIV, no. 80 (2023): 255–67. http://dx.doi.org/10.46793/lipar80.255l.

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The paper has primarily dealt with the concept of irony and parody in Ian McEwan’s novel Atonement and how the author made use of them. The theoretical frame hereby employed includes the following works: Linda Hutcheon’s Irony’s edge and A theory of parody and Dragan Stojanović’s Irony and meaning. Taking everything into account, the writing of Ian McEwan has represented a very fertile ground for the analysis from the perspective of irony and parody. Having in mind the nature and the extent of this work, only a limited number of examples has been employed, the fact that leaves room for some mo

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27

Carvalho, Marcia Goretti. "MCEWAN, Ian. Enclausurado. Tradução de Jorio Dauster. São Paulo: Companhia das Letras, 2016. 200 p." Cadernos de Tradução 40, no. 1 (2020): 255–65. http://dx.doi.org/10.5007/2175-7968.2020v40n1p255.

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28

Ferchl, Irene, and Ian McEwan. "Mylady im Dilemma." Literaturblatt für Baden-Württemberg, no. 2 (June 25, 2024): 18. http://dx.doi.org/10.53458/litbw.vi2.12605.

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29

Chialant, Maria Teresa, Gaetano D'Elia, and Christopher Williams. "La nuova letteratura inglese. Ian McEwan." Yearbook of English Studies 20 (1990): 352. http://dx.doi.org/10.2307/3507633.

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30

McKinlay, John B., and John Stoeckle. "Peter McEwan: Thanks for the memories." Social Science & Medicine 91 (August 2013): R1—R2. http://dx.doi.org/10.1016/j.socscimed.2013.05.020.

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31

Guignery, Vanessa. "Atonement: A Conversation with Ian McEwan." Études anglaises 71, no. 3 (2018): 332. http://dx.doi.org/10.3917/etan.713.0332.

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32

Almaaroof, Ansam Riyadh, and Nirmeen Khudhair. "Postmodern Vision of Absolute Truth in "Atonement" by Ian McEwan." JOURNAL OF LANGUAGE STUDIES 8, no. 10 (2024): 362–76. http://dx.doi.org/10.25130/lang.8.10.20.

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This paper explores Ian McEwan's "Atonement" and its postmodern interpretation of the concept of ultimate truth. The novel, which takes place in the early 20th century, examines the difficulties associated with memory, narrative, and the search for the truth. This essay examines how the novel reflects the postmodern rejection the idea of ultimate truth through a study of the text. It is possible to see the novel "Atonement" as a postmodern attack on the idea of ultimate truth. It is proposed that the novel's postmodern is a conception of reality highlights the importance of memory and narrativ

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33

McEwan, Tom. "Importance of palliative care." British Journal of Midwifery 29, no. 7 (2021): 414–15. http://dx.doi.org/10.12968/bjom.2021.29.7.414.

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34

Azevedo, Mail Marques de. "ENCLAUSURADO EM SONHOS RUINS." Scripta Uniandrade 19, no. 3 (2021): 109–20. http://dx.doi.org/10.55391/2674-6085.2021.2486.

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Este trabalho faz uma leitura do romance Enclausurado, de Ian McEwan, como apropriação do texto fonte, a tragédia Hamlet, de Shakespeare, uma interrelação que não é claramente assinalada, como acontece no processo de adaptação. O afastamento se dá não apenas pela mudança de gênero literário e circunstâncias do enredo, mas pelo predominante tom de humor sarcástico do narrador. Faz-se referência inicialmente a diferentes modos de apropriação da obra de Shakespeare, apontados por estudiosos da área, em que as questões de ética e de política se sobrepõem. Os modos de apropriação, aplicados à análi

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35

McEwan, Tom. "Remember the late preterm neonate." British Journal of Midwifery 28, no. 5 (2020): 278–79. http://dx.doi.org/10.12968/bjom.2020.28.5.278.

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36

McEwan, Tom. "Neonatal transitional care: what it is and isn't." British Journal of Midwifery 28, no. 6 (2020): 338–39. http://dx.doi.org/10.12968/bjom.2020.28.6.338.

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37

McEwan, Tom. "The value of clinical mnemonics." British Journal of Midwifery 28, no. 7 (2020): 398–99. http://dx.doi.org/10.12968/bjom.2020.28.7.398.

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38

Poskanzer, Deborah. "Not Your Father’s Turing Test." Issues in Science and Technology 29, no. 3 (2023): 92–95. http://dx.doi.org/10.58875/lyny2964.

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39

Tan, Ian. "The Ethics of Animal Excess: Violence and Bataillean Vigilance in Ian McEwan's Black Dogs." Narrative 31, no. 3 (2023): 308–23. http://dx.doi.org/10.1353/nar.2023.a908404.

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ABSTRACT: This essay offers a different reading of the ethical imagination in Ian McEwan's fiction from that of human responsibility towards otherness propounded by Emmanuel Levinas. Long regarded as a natural philosophical interlocutor to McEwan, Levinas's concepts of alterity and the transcendence of the other seem to crystallize intersubjective encounters in McEwan's fiction and promote an ethical attitude of peaceable relations between human beings who do not negate the primordiality of the other's presence. I suggest certain difficulties with an unqualified adoption of a Levinasian ethica

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40

Zanatta, Deisi Luzia, and Renata Junqueira de Souza. "A personagem na obra de Ian McEwan: entre a culpa e o desejo de reparação." Letras de Hoje 52, no. 2 (2017): 174. http://dx.doi.org/10.15448/1984-7726.2017.2.25770.

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Este artigo tem como objetivo analisar a trajetória da protagonista Briony Tallis e como se dá sua ação no romance Reparação (2002), de Ian McEwan. Na obra, a personagem principal influenciada por sua mente fantasiosa e uma leitura mal interpretada, vive um drama e tenta reparar um erro cometido no passado. Para tal, o viés teórico adotado conta com os pressupostos de Krause (2010) sobre a metaficção; Rosenfeld (1969, 1976), Candido (1976), Forster (2005), Reis (2001), Miguel (2016) acerca da personagem de ficção, Reis & Lopes (1988) e Friedman (2002) sobre o foco narrativo e a voz do narr

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41

Newnham, David. "Enduring LoveEnduring Love McEwan Ian Vintage , £7.99." Nursing Standard 25, no. 17 (2011): 28. http://dx.doi.org/10.7748/ns.25.17.28.s36.

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42

Nešić, Marija. "Value pluralism in Ian Mcewan's Black dogs and Saturday." Zbornik radova Filozofskog fakulteta u Pristini 54, no. 3 (2024): 187–200. http://dx.doi.org/10.5937/zrffp54-49826.

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Ian McEwan, an influential and provocative British novelist and short-story writer, has addressed a variety of issues, distinguishing himself as a socially and politically engaged author. This paper explores contemporary liberalism as depicted in two of McEwan's novels, Black Dogs and Saturday, both charged with moral complexity. The analysis is approached from the perspective of value pluralism, which recognises the plurality of morally correct yet incompatible and incommensu-rable principles or values. These values may conflict with each other, but since all are correct, the conflicts remain

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43

Verma, Rashmi. "Reconciliation and Redemption Through Rewriting the Past in Ian McEwan’s Atonement: A Moral Reckoning." International Journal of English Language, Education and Literature Studies (IJEEL) 1, no. 3 (2022): 42–45. https://doi.org/10.22161/ijeel.1.3.6.

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Ian McEwan’s Atonement explores the complex relationship between fiction and reality, with a particular focus on how storytelling functions as a means of redemption and reconciliation. At the heart of the novel lies the character of Briony Tallis, whose wrongful accusation of rape disrupts the lives of several characters. As Briony grows older, she attempts to atone for her past actions by writing a novel that reimagines the events leading to the crime, attempting to craft a narrative in which justice prevails. This article examines the role of fiction and storytelling in the novel, arguing th

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44

Meng, Yang. "“SYMBIOSIS” IN THE WASTELAND — ON THE CONSCIOUSNESS OF ANDROGYNY IN THE CEMENT GARDEN." Journal of English Language and Literature 10, no. 01 (2023): 29–40. http://dx.doi.org/10.54513/joell.2023.10103.

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The Cement Garden is Ian McEwan’s first novella, which contains a number of themes. This paper focuses on the analysis of the “masculinity” emanated from the female character Julie and the “femininity” implied by the male character Jack in this work through the application of the “androgyny” theory mainly based on Virginia Woolf. It further illustrates that McEwan tries to maintain the psychological gender balance in the moral wasteland by shaping characters with androgynous characteristics. In the social survival structure, men and women are mutually complementary and dialectically integrated

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45

Sánchez-Arce, Ana María. "Performing innocence: Violence and the nation in Ian McEwan’s Saturday and Sunjeev Sahota’s Ours Are the Streets." Journal of Commonwealth Literature 53, no. 2 (2017): 194–210. http://dx.doi.org/10.1177/0021989416686648.

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Mainstream British society and post-9/11 fiction borrow from the discourse of American exceptionalism (including the fall from innocence to experience, the desire to create or preserve a better world, a “Messianic consciousness” reflecting the arrogance of virtue, the development of narratives of heroism and goodness tied to nation-building, and the use of the above to justify “exemptionalism”) to expose and query the entitlement of those within the narrative home of Britishness and the outsider status of those used to define its borders. This article discusses Ian McEwan’s Saturday and Sunjee

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46

Chaikovska, Natalia. "Presciptive speech genres in the postmodern english discourse of Ian Mcewan (based on the novel “atonement” by Ian Mcewan)." Current issues of social sciences and history of medicine, no. 1 (February 22, 2018): 54–56. http://dx.doi.org/10.24061/54-56.

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47

Nóbrega, Caio Antônio, and Genilda Azerêdo. "“Dearest Reader, It’s Up to You”: Articulating the Theory of Aesthetic Response and Metafiction in Ian McEwan’s Sweet Tooth." Aletria: Revista de Estudos de Literatura 29, no. 4 (2019): 141–64. http://dx.doi.org/10.17851/2317-2096.29.4.141-164.

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In this paper, we aim at discussing the figure of the reader and the reading processes in Ian McEwan’s novel Sweet Tooth. To do so, we propose an articulation between the theoretical discourses on metafiction and the theory of aesthetic response. Drawing from theoretical frameworks elaborated mainly by Iser (1972, 1978, 1989, 2006) – regarding the theory of aesthetic response – and by Hutcheon (1980, 2000) and Waugh (1984) – regarding metafiction – we understand parody and mise en abyme as two metafictional procedures that constitute the structure of the implied reader. In this sense, if these

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48

Bădulescu, Dana. "Ian McEwan’s Parable of Reading in Black Dogs." Open Cultural Studies 2, no. 1 (2018): 581–90. http://dx.doi.org/10.1515/culture-2018-0053.

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Abstract This paper aims to explore Ian McEwan’s vision of Europe in his 1992 novel Black Dogs. Published some three years after the fall of the Berlin Wall, Black Dogs plunges its readers into a fictional experience that enhances their sense of an irrational fear and their apprehensions of evil forces haunting Europe’s past and present and bursting out in the shape of a pair of menacing creatures in London, France, Poland and Germany. Taking the reader back and forth in time and space in a narrative of mobility, McEwan projects a complex vision of Europe, where memory plays tricks and sheds l

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Starling, Betysa Baeta Martins. "A metaficção historiográfica como artifício literário em <i>Reparação</i>, de Ian McEwan." Em Tese 27, no. 1 (2021): 330. https://doi.org/10.17851/1982-0739.27.1.330-341.

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Ao lançar mão da metaficção historiográfica como artifício literário, o escritor inglês Ian McEwan encontrou um meio de fazer com que sua obra máxima, o romance Reparação, fosse capaz de questionar o passado e provocar reflexões sobre as versões oficiais de determinados eventos históricos ao mesmo tempo em que legitima a narrativa por meio da interação entre a história e a ficção, garantindo que a realidade criada pela protagonista do romance ganhasse contornos convincentes, corroborando a tentativa de expiação por ela elaborada e envolvendo o leitor em um interessante jogo narrativo. A partir

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Tan, Ian. "Ian McEwan’s Aesthetic Stakes in Adaptation as Political Rewriting: A Study of Nutshell (2016) and The Cockroach (2019)." Anglia 139, no. 3 (2021): 564–83. http://dx.doi.org/10.1515/ang-2021-0043.

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Abstract This essay will examine two of Ian McEwan’s recent novellas as political rewritings of William Shakespeare and Franz Kafka. McEwan’s Nutshell (2016) repositions the avenger figure in Hamlet as an unborn child whose melancholic awareness of the condition of modern existence allows him a mode of ironic commentary about the possibilities of moral and political choices in a world soon to be destroyed by climate change and nuclear apocalypse. The Cockroach (2019) turns Kafkaesque absurdity into political satire as the protagonist-turned-insect first encountered in The Metamorphosis (1915)

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