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Byrnes, C. "The work of Ian McEwan : a psychodynamic approach." Thesis, University of Newcastle upon Tyne, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.311137.
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This thesis traces the 'metaplot' of Ian McEwan's progress, through his professional writing. Completely unknown in 1971, his work has attracted increasing recognition, culminating in the Booker prize in 1998. Early in his career, he gained access to elements of his unconscious through free-association, active imagination, meditation and the use of recreational drugs. These elements, which surfaced gradually and piecemeal, include strong feelings associated with the Oedipus complex, difficulties with masculine self-identification, feelings of rejection, unresolved grief, wishes to regress to the latency period of childhood, and sexuality contaminated with anal-sadistic power issues. McEwan dealt with these themes by creating characters who expressed them through sexual deviations and violence or acted them through to their logical conclusion. Thus he was able to confront previously repressed aspects of his inner life and resolve some of his emotional problems in safety, while availing himself of rich material for his fiction. His writing is not autobiographical, but it will be demonstrated that events in his life and his changing beliefs and values are reflected in his work. He achieves an illusion of authenticity by including real people and events, familiar to readers from recent history and the news, in vividly described settings. He shares with the reader his interest in advances in science and his concerns about the dangers facing mankind and the evils of authoritarian and patriarchal structures in the microcosm and macrocosm of human institutions. He synthesises these components under a strong narrative shelter of complex plots, dramatic suspense, unexpected thrills and shocks. The psychodynamic interpretations offered in this thesis depend on a detailed study of McEwan's published work. Their aim is to isolate the separate threads in the fabric of his fiction and demonstrate the maturation and increasing sophistication of his work.
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Kong, Kim-Por Paul. "The child in time : postmodern representations of childhood in the novels of Ian Mcewan /." Hong Kong : University of Hong Kong, 1999. http://sunzi.lib.hku.hk/hkuto/record.jsp?B21161720.
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Zavagno, Marianna. "Children and childhood in the work of Ian McEwan." Thesis, University of Birmingham, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.507021.
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Ramos, Déborah Moreira. "A Construção da História em Serena, de Ian McEwan." Universidade do Estado do Rio de Janeiro, 2015. http://www.bdtd.uerj.br/tde_busca/arquivo.php?codArquivo=9337.
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Esta dissertação constitui uma reflexão sobre a situação social, política e cultural da Inglaterra na década de 70, especialmente nos anos de 1972 e 1973, como descrita no romance Serena, de Ian McEwan. O objetivo principal desta pesquisa é apresentar como o momento histórico supracitado é narrado no discurso ficcional, a partir da perspectiva da personagem Serena, em comparação com o discurso histórico, de acordo com fontes selecionadas, que narram a história da Inglaterra no contexto da Guerra Fria, dos ataques terroristas do IRA e do funcionamento do Serviço Secreto doméstico inglês, chamado MI5.This dissertation constitutes a reflection about the social, political and cultural situation of England in the 70s, especially in the years of 1972 and 1973, as described in the novel Sweet Tooth, by Ian McEwan. The main objective of this research is to present how the historical moment mentioned above is narrated in the fictional discourse, from the perspective of the character, in comparison with the historical discourse and from a selection of sources, which narrate the history of England in the context of the Cold War, the terrorist attacks of the IRA and the functioning of the English domestic Secret Service, called MI5.
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Pedot, Richard. "Ecriture de la perversion dans l'œuvre de Ian McEwan." Paris 10, 1996. http://www.theses.fr/1996PA100175.
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Par le choix de ses sujets, la fiction de ian mcewan constitue un piege pour l'interpretation. L'erreur serait de pretendre en circonscrire le scandale en l'abordant sous l'angle exclusif d'une thematique de la perversion qui manquerait la litterarite de l'oeuvre et sa force, qui provient de la tension entre maitrise de l'ecriture et immoralite ou chaos du contenu. L'analyse doit donc etre attentive aux rapports differentiels qui existent entre perversion et fiction afin de montrer comment elles se conjuguent et s'excluent tout a la fois, chacune eclairant l'autre. Elles peuvent etre mises en parallele sur trois points. En premier lieu, toutes deux deconstruisent la realite dont elles montrent qu'elle est un systeme de codes. Par voie de consequence, on y decouvre un savoir qui n'est pas constatif ou theorique, mais figural, dans la mesure ou il permet d'entrevoir le reel - ce qui est unique, non representable par excellence - dans le baillement, les rates de la representation. Enfin, texte et perversion, par leur mise en jeu des oppositions fondamentales de notre horizon conceptuel, suspendent tout jugement categorique, qui ne ferait qu'appliquer methodiquement les regles etablies. Le privilege de la litterature tient dans le pouvoir qu'a l'imagination de renouer avec les questions urgentes posees par la perversion a nos modes de representation de l'experience humaine et de les remettre en jeu, evitant ainsi qu'elles ne retombent dans le delire clinique. L'humour noir qui en resulte est le signe d'une morale qui en appelle a une forme de jugement capable d'apprecier et les faits et les regles qui s'y appliquent. A terme, l'oeuvre de ian mcewan s'avere une longue interrogation sur le pouvoir, sous toutes ses formes, et sa perversion. C'est par ce biais et par sa mefiance envers les reponses categoriques qu'elle appartient a la litterature postmoderneThe scandalous character of the subjects in ian mcewan's fiction makes it a pitfall for the interpreter. The temptation would be to restrict the scandal by an exclusively thematic approach and consequently miss the literariness and the strength of his works, that is to say the tension between the mastery of the artistic form and the immorality or the chaos of the contents. On the contrary, the interpretation must focus on the differential relationship between text and perversion so as to demonstrate how they both combine and exclude each other, each throwing light on the other. Text and perversion can be paralleled along three main lines. Firstly both give rise to a deconstruction of reality, which they expose as a coded system. As a result, the knowledge they bring into play is not of a constative but of a performative or figural kind, in the sense that it lets us get a glimpse of the real that which is unique and cannot be re-presented - in the cracks or misfires of representation. Lastly text and perversion, by putting into question the dichotomies that ground our conceptual understanding, defer any judgement that would be a mere enforcement of established categories. The privilege of literature is to draw on the power of imagination to revive the crucial questioning of human experience which stems from perversion in a manner that rescues it from clinical delirium. The resulting black humour of mcewan's work beckons to an ethics relying on a form of judgement taking into account the facts as well as the act of judgement. Eventually, ian mcewan's fiction appears as a sustained and imaginative meditation on power, in whatever shape, and its perversion. Because of this, and because of its distrust of categorical answers, it belongs fully in postmodern literature
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Hülsendeger, Margarete J. V. C. (Jesusa Varela Centeno). "A representação do físico na obra Solar, de Ian Mcewan." Pontifícia Universidade Católica do Rio Grande do Sul, 2016. http://hdl.handle.net/10923/7918.
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Previous issue date: 2016Between science and literature, despite their language differences, there are more points in common than one would imagine. One of these points is the presence of characters from science in literary works. Thus, one of the main objectives of this research is to investigate how characters originally from the natural sciences, especially physicists, are represented in literature. In order to answer this question, this dissertation uses as its object of study the novel Solar, by the British writer Ian McEwan, and as a method, the Analysis of Content. The theoretical foundation is focused on the study of the concept of narrative focus, on the identification of different types of narrators, and on the presentation of a theory of character, based on the ideas of Mikhail Bakhtin and Antonio Candido. An analysis of the biographical profile of the writer and of the external components of the novel (dedication and epigraph) reveals an intended goal of provoking reflection on the problem of global warming. A study of the narrative focus of Solar reveals that there is an "implied author” – in terms of Wayne Booth –, a predominance of the scene and a narration in free indirect discourse, giving the narrative richness and fluidity.The physicist presented in Solar brings together a set of features that valorize the fact that the protagonist is a famous scientist and Nobel Laureate, while also pointing out the negative aspects of his personality, as often inspired by known figures of science, such as Albert Einstein and Paul Dirac. The different stereotypes used in the composition of the character have also been analyzed, including the idea that a scientist can be an insensitive individual, incapable of emotional relationships, concerned only with his own work, and neglecting professionals from other areas of knowledge. In the end, it has been demonstrated that the concepts of scientific thought of the protagonist describe him as a physicist with a positivist mentality – he believes in a science that do not consider the human presence, deterministic and casuistic. He is conservative, biased, and struggles to understand and accept new ideas.
Ciência e literatura, apesar das linguagens diferentes, têm mais pontos em comum do que se possa imaginar. Um desses pontos é a presença de personagens oriundos da ciência em obras literárias. Assim, esta pesquisa teve como objetivo central responder: como personagens originários das ciências naturais, em especial da física, são representados na literatura? Para responder a essa pergunta, este trabalho utilizou como corpus o livro Solar, do escritor inglês Ian McEwan, e como método de análise a Análise de Conteúdo. A fundamentação teórica centrou-se no estudo do conceito de foco narrativo, na identificação dos diferentes tipos de narradores e na apresentação de uma teoria do personagem, tendo como base, principalmente, as ideias de Mikhail Bakhtin e Antonio Candido. Na análise do perfil biográfico do autor e dos componentes externos (dedicatória e epígrafe) da obra, constatou-se a presença de uma intencionalidade cujo objetivo é provocar uma reflexão sobre o problema do aquecimento global. O estudo sobre o foco narrativo de Solar verificou a existência de um “autor implícito” (BOOTH), o predomínio da cena e uma narração no estilo indireto livre, dando à narrativa mais riqueza e fluidez.O físico representado em Solar reúne um conjunto de traços que valoriza o fato de o protagonista ser um cientista famoso, ganhador do Nobel de Física, sem deixar de apontar os aspectos negativos de sua personalidade, inspirando-se, muitas vezes, em figuras conhecidas da ciência, como Albert Einstein e Paul Dirac. Também foram analisados os diferentes estereótipos utilizados na composição do personagem, entre os quais o fato de o cientista ser um indivíduo insensível, incapaz de relações afetivas, preocupado apenas com o seu trabalho, desprezando profissionais de outras áreas do conhecimento. Ao final, demonstrou-se que as concepções sobre o pensamento científico do protagonista descrevem-no como um físico com uma mentalidade positivista – acredita em uma ciência descolada da presença humana, determinista e casuística – conservador, preconceituoso, com dificuldades de compreender e aceitar novas ideias.
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Dufrene-Meur, Nadine. "L'univers imaginaire dans l'oeuvre d'Ian McEwan." Brest, 1990. http://www.theses.fr/1990BRES1001.
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Les personnages d'Ian McEwan sont influencés par le mythe. Les mythes du patriarcat, de la religion, de la sexualité avec ses tabous, du pouvoir illustré par l'état, la police et l'armée jouent un rôle important au sein de ses romans et nouvelles. Le couple idéal, la beauté idéale, la politesse, l'argent, la notoriété, le voyage, le passé avec ses lois ancestrales sont les normes mythiques à respecter. Dans cet univers, la maladie et la mort dérangent. La plupart des protagonistes sont des enfants ou des adolescents dont la liberté est contrecarrée par le soleil qui symbolise le père. Presque tous les personnages souffrent dans cette atmosphère étouffante. De plus, il existe une totale inadéquation entre eux et la société. McEwan insiste sur leurs fantasmes, leurs névroses, le travail du deuil ainsi que sur les notions de désordre et de solitude. A cause de ce malaise, ils se sentent exclus et créent leur propre bonheur en s'adonnant à la boisson ou à la drogue, en fumant, grace à la musique, au yoga etc. . . Ils souffrent de l'absence d'amour. Ce vif désir d'être aimés les pousse à essayer de sortir de leur solitude mais cette tentative les conduit à détruire l'innocence, la beauté et le sacré. En fait, ils trangressent les lois et les tabous. Le viol, l'inceste, les relations lesbiennes, le sadomasochisme, la peur de la procréation, la jalousie, la violence, le meurtre, la misogynie et la castration sont là pour illustrer leurs frustrations, leur besoin d'être aimés aussi bien que l'abus de pouvoir et d'autorité. Les armes stylistiques de McEwan sont la connivence entre décor et personnages, le suspense et l'ironie aussi bien que l'utilisation de l'argot et de métaphores. McEwan cultive l'ambigüité, le silence, l'obsession et le non-dit de par son style. Les personnages donnent l'impression de porter un masque permanent. Ils semblent en fait voués à l'échec car ils n'acceptent pas la réalité ni ses limites. Ils vivent dans un monde imaginaire qui les empêche de communiquer avec autrui. Comme ils ne s'acceptent pas et qu'ils ne s'aiment pas, ils ne peuvent pas aimer ni être aimés en retourMcEwan's characters are influenced by myth. The myths of patriarchy; religion; sexuality and its taboos; power as illustrated by the state, the police and the army, all play an important part in his novels and shorts stories. The idea couple, the ideal of beauty, politeness, money, the desire to make a name for oneself, travelling and the past with its ancestral laws are mythical values to be respected. Illness and death disturb. Most of the protagonists are children or teenagers whose freedom is curbed by the sun which symbolizes the father. Nearly all the characters suffer in a sultry, stifling atmosphere. Moreover, there is a total inadequacy between them and society. McEwan emphasizes all their phantasms and neuroses, the work of mourning as well as the notion of desorder and solitude. They feel exclused and create their own world of happiness by indulging in smoking, drinking, or through drugs, music, yoga etc. . . They suffer from the absence of love. This hankering ofter love pushes them to try to escape solitude but in the attempt they destroy innocence, beauty and all that is sacred. In the process, they trangress laws and taboos. Rape, incest, lesbian relationships, sadomasochism, the fear of procreation, the thirst for knowledge, the failure to become a father, jealousy, violence, murder, misogny and castration are all present to illustrate their frustrations and their need to be loved as well as the abuse of power and the misuse of authority. Mcewan's main stylistic devices are pathetic fallacy, suspence, and irony as well as the use of slang or metaphors. Thanks to his style, ambiguity, silence and obsession pervade the whole work. Some secret is always hidden behing the words and the characters who in turn seem to wear a permanent mask. In fact, the characters appear to be doomed for they cannot accept reality and its limits. They desperately try to transcend time and space. They live in an imaginary world which prevents them from communicating with the people arround them. As they do not accept themselves, nor love themselves, they cannot love nor be loved in return
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Prudente, Natália Leão. "Relações dialógicas entre autor e leitor em Serena, de Ian McEwan." reponame:Repositório Institucional da UnB, 2015. http://repositorio.unb.br/handle/10482/18813.
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Dissertação (mestrado)—Universidade de Brasília, Instituto de Letras, Departamento de Teoria Literária e Literaturas, Programa de Pós-Graduação em Literatura, 2015.Submitted by Guimaraes Jacqueline (jacqueline.guimaraes@bce.unb.br) on 2015-11-20T11:50:38Z No. of bitstreams: 1 2015_NataliaLeaoPrudente.pdf: 5605773 bytes, checksum: ca99695e01011ab3d595f8a7538b867a (MD5)
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O presente estudo almeja delinear a maneira pela qual autor e leitor se entrelaçam ao longo da narrativa metaficcional de Serena, de Ian McEwan, podendo tornar-se um só em determinados momentos. Para tanto, far-se-á uma análise com base no conceito de dialogismo de Bakhtin e dos pressupostos teóricos de Foucault, Barthes, Booth, Iser, Jauss, Eco e Piglia, que elucidam os papéis de autor e leitor em relação ao texto. Desse modo, pretende-se compreender na narrativa os vários níveis de leitura que ora se sobrepõem, ora são paralelos entre si, configurando uma investigação em que a análise da relação entre leitor e autor pode ser estendida a toda relação humana: analisar-se mutuamente a todo instante, o outro e a si mesmo. ______________________________________________________________________________________________ ABSTRACT
The present study aims to analyze the way in which author and reader relates with each other along the metafictional narrative Sweet Tooth, written by Ian McEwan, and could become one at certain times. To this aim, there will be an analysis based on the concept of dialogism of Bakhtin and the theoretical assumptions of Foucault, Barthes, Booth, Iser, Jauss, and Eco and Piglia, which elucidate the roles of author and reader in relation to the text. Thus, we intend to understand in the narrative the various reading levels which sometimes overlaps herein are parallel to each other by setting up an investigation in which the analysis of the relationship between author and reader can be extended to every human relationship: by analyzing each other every time, the other and your own self.
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Isherwood, Jennifer. "VIOLENCE, NARRATIVE AND COMMUNITY AFTER 9/11: A READING OF IAN McEWAN’S SATURDAY." Bowling Green State University / OhioLINK, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1155763355.
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H?lsendeger, Margarete Jesusa Varela Centeno. "A representa??o do f?sico na obra Solar, de Ian Mcewan." Pontif?cia Universidade Cat?lica do Rio Grande do Sul, 2016. http://tede2.pucrs.br/tede2/handle/tede/6551.
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Between science and literature, despite their language differences, there are more points in common than one would imagine. One of these points is the presence of characters from science in literary works. Thus, one of the main objectives of this research is to investigate how characters originally from the natural sciences, especially physicists, are represented in literature. In order to answer this question, this dissertation uses as its object of study the novel Solar, by the British writer Ian McEwan, and as a method, the Analysis of Content.The theoretical foundation is focused on the study of the concept of narrative focus, on the identification of different types of narrators, and on the presentation of a theory of character, based on the ideas of Mikhail Bakhtin and Antonio Candido. An analysis of the biographical profile of the writer and of the external components of the novel (dedication and epigraph) reveals an intended goal of provoking reflection on the problem of global warming.A study of the narrative focus of Solar reveals that there is an "implied author? ? in terms of Wayne Booth ?, a predominance of the scene and a narration in free indirect discourse, giving the narrative richness and fluidity. The physicist presented in Solar brings together a set of features that valorize the fact that the protagonist is a famous scientist and Nobel Laureate, while also pointing out the negative aspects of his personality, as often inspired by known figures of science, such as Albert Einstein and Paul Dirac.The different stereotypes used in the composition of the character have also been analyzed, including the idea that a scientist can be an insensitive individual, incapable of emotional relationships, concerned only with his own work, and neglecting professionals from other areas of knowledge.In the end, it has been demonstrated that the concepts of scientific thought of the protagonist describe him as a physicist with a positivist mentality ? he believes in a science that do not consider the human presence, deterministic and casuistic. He is conservative, biased, and struggles to understand and accept new ideas.
Ci?ncia e literatura, apesar das linguagens diferentes, t?m mais pontos em comum do que se possa imaginar. Um desses pontos ? a presen?a de personagens oriundos da ci?ncia em obras liter?rias. Assim, esta pesquisa teve como objetivo central responder: como personagens origin?rios das ci?ncias naturais, em especial da f?sica, s?o representados na literatura? Para responder a essa pergunta, este trabalho utilizou como corpus o livro Solar, do escritor ingl?s Ian McEwan, e como m?todo de an?lise a An?lise de Conte?do. A fundamenta??o te?rica centrou-se no estudo do conceito de foco narrativo, na identifica??o dos diferentes tipos de narradores e na apresenta??o de uma teoria do personagem, tendo como base, principalmente, as ideias de Mikhail Bakhtin e Antonio Candido. Na an?lise do perfil biogr?fico do autor e dos componentes externos (dedicat?ria e ep?grafe) da obra, constatou-se a presen?a de uma intencionalidade cujo objetivo ? provocar uma reflex?o sobre o problema do aquecimento global. O estudo sobre o foco narrativo de Solar verificou a exist?ncia de um ?autor impl?cito? (BOOTH), o predom?nio da cena e uma narra??o no estilo indireto livre, dando ? narrativa mais riqueza e fluidez. O f?sico representado em Solar re?ne um conjunto de tra?os que valoriza o fato de o protagonista ser um cientista famoso, ganhador do Nobel de F?sica, sem deixar de apontar os aspectos negativos de sua personalidade, inspirando-se, muitas vezes, em figuras conhecidas da ci?ncia, como Albert Einstein e Paul Dirac. Tamb?m foram analisados os diferentes estere?tipos utilizados na composi??o do personagem, entre os quais o fato de o cientista ser um indiv?duo insens?vel, incapaz de rela??es afetivas, preocupado apenas com o seu trabalho, desprezando profissionais de outras ?reas do conhecimento. Ao final, demonstrou-se que as concep??es sobre o pensamento cient?fico do protagonista descrevem-no como um f?sico com uma mentalidade positivista ? acredita em uma ci?ncia descolada da presen?a humana, determinista e casu?stica ? conservador, preconceituoso, com dificuldades de compreender e aceitar novas ideias.
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Dodou, Katherina. "Childhood without children : Ian McEwan and the critical study of the child /." Uppsala : Department of English, Uppsala University, 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-109841.
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Eckstein, Lars. "Saturday on Dover Beach : Ian McEwan, Matthew Arnold, and post-9/11 melancholia." Universität Potsdam, 2011. http://opus.kobv.de/ubp/volltexte/2012/5922/.
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This essay revisits Ian McEwan’s extremely successful novel Saturday, and interrogates its exemplary assessment of the British cultural climate after 9/11. The particular focus is on McEwan’s extensive recourse to the writings of Matthew Arnold, whose melancholy outlook on culture and anarchy McEwan basically translates into the 21st century without much ideological fraction. This relapse into Victorian liberal humanism as consolation for a Western world besieged by the contingencies of terrorism is extremely problematic. Not only does it wilfully ignore the transcultural realities of modern Britain, it also promotes an ahistorical and apolitical mode of critical inquiry which may be called reductive at best in view of the global challenges that the novel addresses.
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Escoza, Cássia [UNESP]. "O romance como veículo de preenchimento da falta humana: Reparação de Ian McEwan." Universidade Estadual Paulista (UNESP), 2013. http://hdl.handle.net/11449/122250.
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Este estudo é, em essência, uma reflexão sobre o romance Reparação, de Ian McEwan, e tem como objetivo verificar a possibilidade dessa obra se constituir como veículo de preenchimento da falta humana. Dessa maneira, num primeiro momento, o trabalho explana a trajetória artística do autor com a intenção de ressaltar Reparação como síntese das propostas estéticas de Ian McEwan. Na sequência, a partir de considerações teóricas, busca identificar uma possível leitura desse romance como elo entre a experiência artística e a realidade, focalizando o entrelaçamento das estratégias discursivas e da dimensão metalinguística que problematiza a questão da verdade ficcional. A seguir, a pesquisa procura investigar as intertextualidades que atestam a temática da reparação e as formas pelas quais elas estruturam a proposta principal defendida na obra. Por fim, o trabalho pretende averiguar o pensamento crítico que o autor imprime em seu texto sobre as questões do Homem no mundo para levantar de que modo as vozes sociais estão assimiladas na obra em foco, e como o romance procura condensar a experiência existencial e histórica para transformá-las em escrita. Assim, o trabalho se propõe afirmar que a produção de sentidos para o mundo atual constitui-se num dos elementos vitais na construção ficcional de McEwan
The nucleus of this study is a reflection concerning the novel Atonement, by Ian McEwan, with the objective of verifying the possibility that this novel constitutes a vehicle for the reparation of human error. As such at first, this study sets out to give an account of the artistic trajectory of the author, with the intention of highlighting Atonement as a synthesis of Ian McEwan’s aesthetic proposals. Next, based on theoretical considerations, the study seeks to identify a possible view of this novel as a link between artistic experience and reality; focusing on the interweaving of discursive strategies and the metalinguistic dimension which discusses the issue of fictional truth. The research goes on to investigate those intertextualities, which attesting to this theme of reparation, and the ways in which they structure the main proposal in the novel. Finally, the research investigates the critical thinking, of the author in the novel concerning issues of man’s place in the world in order to discuss the manner in which social voices are assimilated into the work in focus; and how the novel attempts to condense existential and historical experience so as to transform these into the written word. Thus, the study proposes that the production of meaning for the contemporary world is one of the vital elements in McEwan’s fictional construction
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Lin, Ching-huan. "Imagining Europe in selected works by Caryl Phillips, Ian McEwan and Kazo Ishiguro." Thesis, University of Leeds, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.595845.
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This thesis aims to explore the changing imagination of post-war Europe in contemporary British literary works by Caryl Phillips, Ian McEwan and Kazuo Ishiguro. It suggests that these authors, rather than exploring Britain's relationship with Europe defensively, show British national identity to be deeply ingrained with a consciousness of Europe. Recognising the demand for new cognitive maps of Europe after the end of the Cold War, Phillips, McEwan and Ishiguro see that new modes and models of European identity are needed at a time when memories of the overlapping histories of racism, dehumanisation and violence are being collectively refashioned, and when European self-understandings are being reorganised in the twentieth-century contexts of decolonisation and globalisation. The thesis demonstrates that these writers' works not only deal with the British Empire and its aftermath, with the traumatic experiences of two world wars, and with the domestic tensions of multiculturalism and ethnic conflict; they also reflect critically on ongoing processes of European expansion and integration. Situated within a longstanding tradition of Europe as an idea or ideal characterised by ambivalence and driven by a cosmopolitan ethos, the thesis looks at Phillips's, McEwan's and Ishiguro's respective representations of an imagined Europe, using qualifying adjectives-'black', 'double', 'cosmopolitan'-to set universal ideals against the open wounds of history, unmet demands for justice, and the realities of uneven power. These three connecting strands emphasise the need for a cosmopolitan worldview that takes full responsibility for humanity, both in the Europe of the past and the Europe of the present. In examining the idea or ideal of Europe from the vantage point of Britain, the thesis contributes towards the further understanding of a troubled continent, demonstrating the salience of otherness to its necessarily unresolved vision of itself
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Kong, Kim-Por Paul, and 江劍波. "The child in time: postmodern representationsof childhood in the novels of Ian Mcewan." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1999. http://hub.hku.hk/bib/B31952045.
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Escoza, Cássia. "O romance como veículo de preenchimento da falta humana : Reparação de Ian McEwan /." São José do Rio Preto, 2013. http://hdl.handle.net/11449/122250.
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Orientador: Gentil Luiz de FariaBanca: Gilberto Pinheiro Passos
Banca: Sandra Guardini Teixeira Vasconcellos
Banca: Nadilza Martins de Barros Moreira
Banca: Álvaro Luiz Hattnher
Resumo: Este estudo é, em essência, uma reflexão sobre o romance Reparação, de Ian McEwan, e tem como objetivo verificar a possibilidade dessa obra se constituir como veículo de preenchimento da falta humana. Dessa maneira, num primeiro momento, o trabalho explana a trajetória artística do autor com a intenção de ressaltar Reparação como síntese das propostas estéticas de Ian McEwan. Na sequência, a partir de considerações teóricas, busca identificar uma possível leitura desse romance como elo entre a experiência artística e a realidade, focalizando o entrelaçamento das estratégias discursivas e da dimensão metalinguística que problematiza a questão da verdade ficcional. A seguir, a pesquisa procura investigar as intertextualidades que atestam a temática da reparação e as formas pelas quais elas estruturam a proposta principal defendida na obra. Por fim, o trabalho pretende averiguar o pensamento crítico que o autor imprime em seu texto sobre as questões do Homem no mundo para levantar de que modo as vozes sociais estão assimiladas na obra em foco, e como o romance procura condensar a experiência existencial e histórica para transformá-las em escrita. Assim, o trabalho se propõe afirmar que a produção de sentidos para o mundo atual constitui-se num dos elementos vitais na construção ficcional de McEwan
Abstract: The nucleus of this study is a reflection concerning the novel Atonement, by Ian McEwan, with the objective of verifying the possibility that this novel constitutes a vehicle for the reparation of human error. As such at first, this study sets out to give an account of the artistic trajectory of the author, with the intention of highlighting Atonement as a synthesis of Ian McEwan's aesthetic proposals. Next, based on theoretical considerations, the study seeks to identify a possible view of this novel as a link between artistic experience and reality; focusing on the interweaving of discursive strategies and the metalinguistic dimension which discusses the issue of fictional truth. The research goes on to investigate those intertextualities, which attesting to this theme of reparation, and the ways in which they structure the main proposal in the novel. Finally, the research investigates the critical thinking, of the author in the novel concerning issues of man's place in the world in order to discuss the manner in which social voices are assimilated into the work in focus; and how the novel attempts to condense existential and historical experience so as to transform these into the written word. Thus, the study proposes that the production of meaning for the contemporary world is one of the vital elements in McEwan's fictional construction
Doutor
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Azevedo, Laila Cristina dos Santos. "A releitura da memória, da culpa e da redenção em Reparação de Ian McEwan." Universidade Federal do Amazonas, 2015. http://tede.ufam.edu.br/handle/tede/4672.
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Ian McEwan establishes the problematic of written memory and how to rework it as fiction in Atonement. This novel was published in 2001 from the report of a World War II nurse and 77 year-old professional writer, Briony Tallis, who, in a deliberate act, creates a tragedy that affects the fate of three people and seeks to atone her mistake when writing a novel and recounting a crime committed. This metaromance uses the intertextuality and dialogues with other English works such as the ones from Jane Austen, Henry Fielding and Virginia Woolf resuming characteristics of their characters. The meaning of the word “atonement”, that gives title to the novel, is another point to be considered by the broad sense that the verb “to atone” has. The power of literature to represent and interpret the world would be the main theme of this work, when you intend to discuss the possibility of recreating the world from what is written.
Ian McEwan estabelece a problemática da memória escrita e como retrabalhá-la na forma de ficção em Reparação, romance publicado em 2001 a partir do relato de uma enfermeira da II Guerra Mundial e escritora profissional aos 77 anos, Briony Tallis, que, em um ato deliberado, cria uma tragédia a ponto de afetar o destino de três pessoas e busca uma reparação do seu erro ao escrever um romance, recontando um crime cometido. Este metarromance faz uso de intertextualidade e dialoga com outras obras inglesas como as de Jane Austen, Henry Fielding, Virginia Woolf retomando características de seus personagens. O conceito da palavra atonement, que dá título ao romance, é outro ponto a ser analisado pelo amplo sentido que o verbo to atone representa. O poder da literatura de representar e interpretar o mundo seriam o principal tema deste trabalho, quando se pretende discutir a possibilidade de recriar o mundo a partir do que se escreve.
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Galrito, Irene Maria Cunha. "O sentido da modernidade en Ian McEwan: saturday e as inquietações de Henry Perowne." Master's thesis, Universidade de Évora, 2012. http://hdl.handle.net/10174/14156.
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Esta dissertação analisa Saturday (2005), romance de Ian McEwan, um dos mais
reconhecidos autores da literatura britânica contemporânea.
Identificado, por vezes, como o escritor nacional por excelência, McEwan cria nas suas obras
uma permanente relação entre razão e intuição, as quais se entrecruzam e digladiam de forma
evidente no romance.
Saturday espelha o sentido de modernidade que se vive no mundo ocidental na
contemporaneidade e a personagem principal, Henry Perowne, um neurocirurgião experiente,
personifica esse universo, onde são abordadas temáticas, preocupações e angústias próprias
do início do milénio.
Tendo como base teórica os conceitos de modernidade de Anthony Giddens e Zygmunt
Bauman, são identificados os traços distintivos da modernidade e de que forma eles se
consubstanciam em Saturday.
Apesar da voracidade dos valores da modernidade tardia/líquida, o romance contém inúmeros
aspetos de uma modernidade sólida que fornece padrões, estruturas, segurança e sentimentos
de conforto; ABSTRACT: This dissertation examines Saturday (2005), a novel by Ian McEwan, one of the most
renowned authors of contemporary British literature.
Often identified as the national writer par excellence, McEwan creates in his works a
permanent relation between reason and intuition, which intertwine and clash so evidently in
this novel.
Saturday mirrors the sense of modernity that is experienced in the western world nowadays
and the main character, Henry Perowne, an expert neurosurgeon, embodies this universe,
where the new millennium issues, concerns and anxieties are addressed.
Based on the theoretical concepts of modernity developed by Anthony Giddens and by
Zygmunt Bauman, this dissertation points out the distinctive features of modernity and how
they are substantiated in Saturday.
Despite the voracity of the values of late/liquid modernity, the novel contains many aspects of
a modernity that provides solid patterns, structures, safety and feelings of comfort.
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Le, Barzic David. "La responsabilisation esthétique : phénomènes et mécanismes de réponse dans l'oeuvre d'Ian McEwan." Angers, 2001. http://www.theses.fr/2001ANGE0035.
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La chaîne fictionnelle d'Ian McEwan est tramée de part et d'autre par l'auteur, par les critiques et les lecteurs qui, en l'accommodant et en la raccommodant selon les techniques interprétatives plus ou moins appropriées et maîtrisées, ne cessent de multiplier les fils directeurs de son tissu de réponses. Les critiques principalement mimétique, psychanalytique et féministe, sont à la fois sollicitées et déjouées ; les concepts de lecteurs (attentif ou implicite), pris en charge par les personnages ewaniens, deviennent caducs. La parodie de l'auto-analyse est un miroir tendu à la partialité de toutes les conclusions herméneutiques, à l'ignorance comme butin de toute quête effrénée du savoir. En déplaçant ludiquement les frontières spatiales et temporelles qui polarisent texte et hors-texte, écriture et lecture, en thématisant le doute et en piégeant les automatismes identificatoires du lecteur réel, l'oeuvre ewanienne pousse à renoncer à l'arsenal analytique, à interroger le bien-fondé des édifices identitaires (lectant, lisant, lu de Vincent Jouve), à explorer des zones liminaires de soi, à flotter temporairement dans l'entre-deux confessionnel des éthiques de lecture. L'observation de ces phénomènes dialogiques force le co-lecteur (auteur, critique et lecteur) à admettre sa part de responsabilité dans la formulation de la réponse esthétique, en rendant et en tenant compte des quatre grandes impulsions qui la sous-tendent : textuelles, épitextuelles, personnelles et temporelles
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Padwicki, Robyn Sharlene. "Intertextual echoes : violence, terror, and narrative in the novels of Ian McEwan and Graham Swift." Thesis, University of British Columbia, 2008. http://hdl.handle.net/2429/2800.
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Numerous studies have pointed to the historiographic and metafictional aspects of Ian McEwan’s and Graham Swift’s fiction, although few have examined the connections between McEwan and Swift. This study develops from that work by proposing that McEwan’s and Swift’s fictions explore similar themes, beyond those of just history and metafiction. By situating McEwan and Swift as postmodern writers who are strikingly intertextual, in the sense initially coined by Julia Kristeva, this study will show that both authors are deeply concerned with the violence of the twentieth and early twenty-first centuries, and the role that violence has played in the failure of metanarratives, as well as the resulting terror subjects face as they seek replacements for the personal authenticity, legitimacy, and meaning once provided by totalizing metanarratives. This study also illustrates that McEwan and Swift recognize the persistence of the metanarrative of science, as well as the psychic violence inherent in trying to replace metanarratives with received literary traditions. By developing on these ideas, this thesis argues that McEwan and Swift are actively engaged not only in exploring the anxiety subjects face as they realize there is nothing left upon which they can base their personal legitimacy, but also that the authors are suggesting there is no easy replacement for the lost, albeit fictitious, authenticity once situated in metanarratives and received genres. Finally, this paper will demonstrate that while these two contemporary novelists significantly problematize narrative and narrative frameworks, McEwan and Swift ultimately convey only one sure method to cope with the mourning and terror of the postmodern condition: continue writing.
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Fortin-Tournès, Anne-Laure. "Les figures de la violence dans la littérature britannique contemporaine : Martin Amis, Ian McEwan, Graham Swift." Paris 3, 1998. http://www.theses.fr/1998PA030197.
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Ce travail interroge la représentation de la violence chez trois auteurs britanniques contemporains : Martin Amis, Ian McEwan et Graham Swift, emblématiques de deux courants distincts de l'écriture postmoderne. Ian McEwan et Graham Swift tentent de textualiser l'horreur nazie ainsi que l'ignominie du terrorisme, par le biais de la représentation d'un corps sémiotisé, qui désigne la violence de manière figurale, en présentifiant l'expulsion qu'elle entraîne, du sujet, puis du signe lui-même. Cette figuralité, qui constitue un événement dans l'ordre du discours, fait du texte un geste de mise en présence du référent. Martin amis prend pour objet de discours cette économie figurale de la représentation, qui est habitée, selon lui, par la logique du simulacre. Il l'exhibe alors dans ses conséquences littérales, sous la forme carnavalesque d'une révolution généralisée. Ce faisant, il révèle que, par essence, le roman postmoderne est hante par le néant, et se sous-tend du rien. Or si quelque chose peut faire supplément a ce manque, ce n'est pas l'écriture elle-même, condamnée qu'elle est a en décliner les modalités, mais la lecture, en tant qu'elle est coproductrice du texte. Désignée comme le dernier refuge du poétique en ces temps troubles de crise de la foi en le pouvoir symbolique du signe, la lecture serait-elle ce qui peut faire bouchon au vide de la représentation ? Il n'en est rien. Car si les textes offrent indiscutablement a la lecture des petits-plus-de-jouir, ils l'instaurent principalement, dans le manque qui la creuse, en lecture désirante qui, en se reconnaissant comme telle, emporte avec elle un savoir structurel sur l'absenceThe representation of violence in novels by Martin Amis, Ian McEwan and Graham Swift exemplifies two major trends in postmodern British writing. McEwan and Swift incorporate the horror of the Second World War into their texts by means of the representation of a semiotized body that makes violence present through its consequences for the subject and the linguistic sign. This iconic body sets discourse into motion, because it endows language with the power to point to the very presence of its object. Amis denounces this economy of representation as prone to the logic of the simulacrum, by staging its consequences in the guise of a carnivalesque revolution, and revealing that the postmodern novel is haunted by nothingness. Henceforth, since writing appears as a mere simulacrum, only reading seems to retain the shaping power of imagination on the emptied stage of contemporary fiction. But even the reader fails to save the text from the wreckage of the collusion between words and things, since he is himself riddled with the hollows of desire. He can only attempt to relish the violent play of language that takes place before his eyes
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Ionescu, Andrei. "Disrupted Intersubjectivity: Paralysis and Invasion in Ian McEwan's Works." Doctoral thesis, Università degli studi di Padova, 2016. http://hdl.handle.net/11577/3426756.
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This doctoral dissertation aims to investigate two classes of phenomena creating failures of understanding in social interaction, which I will refer to as ‘paralysis’ and ‘invasion.’ Both paralysis and invasion should be understood as disrupted forms of intersubjectivity, the former being characterized by a lack/deficiency of ways of relating to others, and the latter by an unnecessary surplus. One of my leading hypotheses is that paralysis and invasion are complementary both theoretically and experientially: since paralysis refers to a lack and invasion to a surplus, the two concepts are theoretically complementary; however, since paralytic ways of dealing with alterity often breed invasion during concrete social encounters, the two classes of phenomena are also experientially complementary. By studying the literary representation of these phenomena in a selection of Ian McEwan’s literary works (Homemade, On Chesil Beach, Enduring Love, and Atonement), I hope to shed more light on both the nature and functions of literature and on the structure of human relationships in general.
This project can be considered, theoretically and methodologically, as part of the developing field of cognitive literary studies. In contrast to most of the research done in this field until now, though, my thesis not only aims to use cognitive scientific theories in order to clarify literary issues, but also to investigate to what extent can literature itself contribute to the process of understanding the workings of the human mind. By employing what Marco Caracciolo calls a cognitive-thematic approach to literature, i.e. an investigation of the metacognitive issues staged and reflected upon in literary works, I aim to challenge and refine contemporary cognitive and philosophical approaches to intersubjectivity and give directions for further theoretical and empirical research.La presente tesi di dottorato si propone di esaminare due classi di fenomeni che creano difficoltà di comprensione nell’interazione sociale. Questi fenomeni che chiamo “paralisi” e “invasione” consistono in alterazioni dell’intersoggettività: la paralisi è caratterizzata dalla mancanza o insufficenza di relazioni con gli altri, l’invasione invece appare come un surplus innecessario di relazioni. Una delle mie ipotesi principali è che la paralisi e l'invasione sono complementari sia in senso teorico sia in senso esperienziale: dato che la paralisi si riferisce ad una mancanza e l'invasione ad un surplus, i due concetti sono complementari teoricamente; inoltre, poiché le attitudini paralitiche di fronte all’alterità spesso generano invasione in incontri sociali concreti, le due classi di fenomeni sono anche esperienzialmente complementari. Attraverso lo studio delle rapprezentazioni letterarie di questi fenomeni in varie opere di Ian McEwan (Homemade, On Chesil Beach, Enduring Love e Atonement), la tesi mira chiarire la natura e le funzioni della letteratura e al tempo stesso di capire meglio la forma delle relazioni umane da una prospettiva più ampia. Questo progetto può essere considerato, teoricamente e metodologicamente, come parte di un campo emergente, quello degli approcci cognitivi alla letteratura. A differenza della maggior parte delle ricerche svolte in questo ambito fino ad ora, tuttavia, la presente tesi non mira solo ad utilizzare le teorie cognitive per chiarire questioni di letteratura, ma anche ad indagare in che misura può la stessa letteratura contribuire all comprensione dei meccanismi della mente umana. Utilizzando quello che Marco Caracciolo chiama un approccio cognitivo-tematico alla letteratura, cioè un'indagine delle questioni metacognitive messe in scena e elaborate dalle opere letterarie, la tesi si propone di discutere e perfezionare approcci cognitivi e filosofici contemporanei all’intersoggettività, dando indicazioni per ulteriori ricerche teoriche ed empiriche.
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Reilly, Elizabeth. "The resurgence of the moral novel in the wake of 9-11." Diss., Columbia, Mo. : University of Missouri-Columbia, 2007. http://hdl.handle.net/10355/4963.
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Thesis (M.A.)--University of Missouri-Columbia, 2007.The entire dissertation/thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file (which also appears in the research.pdf); a non-technical general description, or public abstract, appears in the public.pdf file. Title from title screen of research.pdf file (viewed on November 5, 2007) Includes bibliographical references.
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Quillen, Ethan Gjerset. "Everything is fiction : an experimental study in the application of ethnographic criticism to modern atheist identity." Thesis, University of Edinburgh, 2015. http://hdl.handle.net/1842/19556.
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This Thesis is an experiment. Within its pages a number of stories will be told, the foci of which will apply a particular methodology—what I call ‘Ethnographic Criticism’—to the examination of a specific concept: modern Atheist identity. First, it will introduce Ethnographic Criticism as a new and significant style of literary analysis aimed at reading fictional texts in order to generate anthropological insights about how particular identities are formed. Second, it will use this new means of criticism to discuss and evaluate how Atheist identity might be perceived as being constructed within a dialectic between seemingly exclusive forms of Theism and Atheism. Ethnographic Criticism exists at the nexus between fiction and ethnography, and its genesis derives from three foundational pillars: ethnographic construction, Ethical Criticism, and discourse analysis. In the three Chapters of Part One, each of these pillars will be established, both exegetically and critically. This examination will play a key role in explicating how the ‘made-up’ qualities of fiction might be converted into the ‘made-from’ qualities of ethnography. Additionally, these Chapters will reveal the roots of Ethnographic Criticism through an analysis of discourses dealing with the ‘literary turn’ in the theory of anthropology, how Ethical Criticism associates fictional character development with identity construction, and the anthropological benefits of discourse analysis. As a case study, I will apply Ethnographic Criticism to an analysis of Atheist identity construction. Due to the combination of a relative absence of existing ethnographic sources on the subject, an ambiguous academic discourse on the definition of the term, and a paucity of cultural units or ‘tribes’ of Atheists in which to observe, my use of Ethnographic Criticism will attempt to fill a methodological lacuna concerning the study of Atheist identity. Thus, in Part Two, I will focus on two fictional texts by the contemporary English novelist Ian McEwan: Black Dogs (1992) and Enduring Love (1997). In this analysis, not only will McEwan’s fictional characters be treated as if they are ‘real,’ historical individuals, they will be evaluated through an anthropological lens in order to isolate within their interactional validations a means to understand how Atheists define themselves via dialectical communication. In this way, and in both explicating and reflecting upon this approach, my experimental analysis will identify a number of dynamic, yet no less precarious, outcomes that might surface from reading fictional texts as if they were authoritatively equal to ethnographic ones.
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Seaboyer, Judith Ailsa. "Second death in Venice, cognitive mapping in the Venetian fictions of Jeanette Winterson, Ian McEwan, and Robert Coover." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp03/NQ45827.pdf.
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Silva, Isaías Eliseu da [UNESP]. "O moderno e o contemporâneo: um estudo de Mrs. Dalloway, de Virginia Woolf e Saturday, de Ian McEwan." Universidade Estadual Paulista (UNESP), 2018. http://hdl.handle.net/11449/154387.
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Ecos de Mrs. Dalloway, de Virginia Woolf, reverberam no romance Saturday, de Ian McEwan, publicado oitenta anos após o primeiro, e esta tese propõe uma análise sobre os textos ficcionais referidos a fim de expor a medida em que, dadas as semelhanças entre uma narrativa e outra, diferem-se o contexto histórico, as preocupações das personagens e as técnicas narrativas utilizadas no romance de Woolf e no de McEwan. Ambos os romances ambientam-se em Londres, têm o enredo circunscrito no limite de um dia e utilizam-se de acontecimentos históricos como pano de fundo para as narrativas. Mrs. Dalloway é motivado pelos efeitos provocados pela Primeira Guerra Mundial sobre a sociedade inglesa no início do século XX e Saturday baseia-se nas consequências dos ataques terroristas de 2001 às torres do World Trade Center nos Estados Unidos para apresentar uma narrativa que trata do modo de vida contemporâneo em uma metrópole europeia. Busca-se apontar as categorias do moderno em Mrs. Dalloway e do contemporâneo em Saturday, a partir de um referencial teórico que inclui Calinescu e Berman sobre a modernidade, Bell e Innes sobre o Modernismo, Elias e Schollhammer sobre a literatura contemporânea e Lyotard e Bauman sobre os fundamentos do presente histórico.
Echoes of Mrs. Dalloway, by Virginia Woolf, reverberate in Saturday, a novel by Ian McEwan, published eighty years after the first one, and this thesis proposes an analysis on the referred fictional texts to show to what extent, given the similarities between one narrative and the other, the historical context, the characters’ worries, and the narrative techniques are different in Woolf’s and McEwan’s novels. Both stories are set in London, have their plots circumscribed into the limit of a day, and take historical facts as the background for their narratives. Mrs. Dalloway is motivated by the effects of World War I on the English society in the beginning of the 20th century, and Saturday is based on the consequences of the terrorist attacks in 2001 on the World Trade Center towers in The United States to present a narrative that deals with the contemporary way of life in a European metropolis. The aim of the research is to point out the categories of the modern in Mrs. Dalloway and of the contemporary in Saturday, from a theoretical reference that includes Calinescu and Berman about modernity, Bell and Innes about Modernism, Elias and Schollhammer about contemporary literature, Lyotard and Bauman about the basis of the historical present.
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Silva, Isaías Eliseu da. "O moderno e o contemporâneo : um estudo de Mrs. Dalloway, de Virginia Woolf e Saturday, de Ian McEwan /." Araraquara, 2018. http://hdl.handle.net/11449/154387.
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Orientador(a): Maria das Graças Gomes Villa da SilvaResumo: Ecos de Mrs. Dalloway, de Virginia Woolf, reverberam no romance Saturday, de Ian McEwan, publicado oitenta anos após o primeiro, e esta tese propõe uma análise sobre os textos ficcionais referidos a fim de expor a medida em que, dadas as semelhanças entre uma narrativa e outra, diferem-se o contexto histórico, as preocupações das personagens e as técnicas narrativas utilizadas no romance de Woolf e no de McEwan. Ambos os romances ambientam-se em Londres, têm o enredo circunscrito no limite de um dia e utilizam-se de acontecimentos históricos como pano de fundo para as narrativas. Mrs. Dalloway é motivado pelos efeitos provocados pela Primeira Guerra Mundial sobre a sociedade inglesa no início do século XX e Saturday baseia-se nas consequências dos ataques terroristas de 2001 às torres do World Trade Center nos Estados Unidos para apresentar uma narrativa que trata do modo de vida contemporâneo em uma metrópole europeia. Busca-se apontar as categorias do moderno em Mrs. Dalloway e do contemporâneo em Saturday, a partir de um referencial teórico que inclui Calinescu e Berman sobre a modernidade, Bell e Innes sobre o Modernismo, Elias e Schollhammer sobre a literatura contemporânea e Lyotard e Bauman sobre os fundamentos do presente histórico
Abstract: Echoes of Mrs. Dalloway, by Virginia Woolf, reverberate in Saturday, a novel by Ian McEwan, published eighty years after the first one, and this thesis proposes an analysis on the referred fictional texts to show to what extent, given the similarities between one narrative and the other, the historical context, the characters' worries, and the narrative techniques are different in Woolf's and McEwan's novels. Both stories are set in London, have their plots circumscribed into the limit of a day, and take historical facts as the background for their narratives. Mrs. Dalloway is motivated by the effects of World War I on the English society in the beginning of the 20th century, and Saturday is based on the consequences of the terrorist attacks in 2001 on the World Trade Center towers in The United States to present a narrative that deals with the contemporary way of life in a European metropolis. The aim of the research is to point out the categories of the modern in Mrs. Dalloway and of the contemporary in Saturday, from a theoretical reference that includes Calinescu and Berman about modernity, Bell and Innes about Modernism, Elias and Schollhammer about contemporary literature, Lyotard and Bauman about the basis of the historical present
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Rösch, Thomas. "Medienkritik im angloamerikanischen Gegenwartsroman dargestellt an Romanen von John Irving, Douglas Coupland und Ian McEwan; mit einer Auswahlbibliographie /." [S.l. : s.n.], 2003. http://www.bsz-bw.de/cgi-bin/xvms.cgi?SWB11675841.
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Alden, Natasha. "Reading behind the lines: postmemory, history and narrative in the novels of Graham Swift, Pat Barker, Adam Thorpe and Ian McEwan." Thesis, University of Oxford, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.491589.
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Fevyer, David. "Reading the Anthropocene through science and apocalypse in the selected contemporary fiction of J.G. Ballard, Kurt Vonnegut, Cormac McCarthy and Ian McEwan." Thesis, University of Southampton, 2016. https://eprints.soton.ac.uk/400663/.
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This thesis examines how six contemporary novels variously intervene in the current crisis of climate change. Through close readings of J G Ballard’s The Drowned World (1962) and Hello America (1981); Cormac McCarthy’s The Road (2006); Kurt Vonnegut’s Cat’s Cradle (1963) and Galapagos (1985); and Ian McEwan’s Solar (2010), the thesis aims to identify how the narrative and generic resources of contemporary fiction might help readers to think through and beyond the consequences of anthropocentric ways of thinking about the biosphere. Drawing upon the concept of the Anthropocene – and in particular the account of this concept provided by the historian Dipesh Chakrabarty – the thesis suggests that these novels raise profound questions about how climate change is represented and understood. If accounts of the human history of modernity have until recently overlooked the complex ways in which both the human species and its contemporary fossil fuel cultures are intertwined with the geologic history of the planet, how has contemporary fiction attended to this oversight? What light can imaginative apocalyptic future histories of the biosphere, such as those presented in the fiction of Ballard, Vonnegut and McCarthy, shed on predominant understandings of climate change? How has fiction highlighted the ways in which the insights offered by the Anthropocene complicate the promises of scientific ‘reason’ to explain and provide solutions to anthropogenic climate change? How do fictions such as those of Vonnegut and McEwan contribute to a more nuanced account of the limits of such reasoning? To address these questions, the thesis draws upon Martin Heidegger’s account of the anthropocentric enframing of nature through technology, and suggests a re-thinking of Louis Althusser’s account of ideology through which we can begin to understand how anthropocentric perspectives are naturalised in ways that illuminate some of the difficulties identified by Chakrabarty. By bringing these three perspectives together, the thesis seeks to develop a distinct critical approach to reading the responses of these literary fictions to climate change. The first section of the thesis examines how the generic resources of apocalyptic fiction defamiliarise assumed relationships between the human subjects and societies of industrial modernity and the biosphere. Chapter 1 suggests that J G Ballard’s novel The Drowned World (1962) imaginatively connects geologic and human history in order to disrupt key anthropocentric assumptions concerning the relationship between humanity and the biosphere, whilst his later novel Hello America (1981) foregrounds the anthropocentric inscription of industrial modernity through a self-consciously hallucinatory re-imagining of American history. Chapter 2 examines Cormac McCarthy’s recent novel The Road (2006), and suggests that the text presents a particular form of apocalyptic narrative that complicates the anthropocentric sub-text of traditional apocalyptic narratives. The second section of the thesis examines how the fictional representation of science and scientists can help to illuminate the ways in which an anthropocentric faith in the technoscientific promise of human power over nature serves to legitimate an illusion of human mastery over the biosphere. Chapter 3 considers how Kurt Vonnegut’s novel Cat’s Cradle (1963) offers a counterpoint to this faith by ironically depicting scientist characters whose assumptions of beneficial technoscientific progress are undermined by complex interconnections between individuals and the biosphere – connections that have apocalyptic consequences. Such complex interactions are also a feature of the insights offered by ecology and evolutionary science. Reading Vonnegut’s fiction after the Anthropocene underlines the ways in which Vonnegut’s literary techniques can help readers to think through and beyond the complex connections between natural and human history that these scientific disciplines begin to elucidate. As chapter 3 suggests, Vonnegut’s later novel Galapagos (1985) provides a particularly imaginative account of this complexity through its fictional narrative of an evolutionary future history across the longue durée of geologic time. Building on the insights developed in chapter 3, chapter 4 considers the significance of Ian McEwan’s ironic depiction of a fictional scientist who is unable to restrain his own overconsumption of resources in his novel Solar (2010). In my reading, McEwan’s scientist figure functions as an allegory for the paradoxes of a technoscientific culture that seems unable to apply scientific reason in meaningful responses to the dangers of the Anthropocene. In so doing, the chapter illustrates how the use of allegorical codes and irony in Solar draw attention to the ways in which a faith in technoscientific reason to provide solutions to anthropogenic climate change is misplaced. This misplaced faith also naturalises the on-going enframing of nature as a resource, with potentially apocalyptic consequences. The apocalyptic narratives of the Ballard and McCarthy novels can be understood as quasi-scientific literary speculations, which disrupt anthropocentric assumptions through the experimental futures they depict. Similarly, the ironic depictions of scientists and scientific thinking in the Vonnegut and McEwan novels draw attention to the anthropocentric limitations of conventional scientific thinking for fully understanding and productively responding to the apocalyptic implications of climate change. In bringing these readings together, the thesis attempts to provide valuable and timely insights into the techniques through which the literary fiction of Ballard, Vonnegut, McCarthy and McEwan can help readers to think differently about the complex relationship between human life and the biosphere. These readings also trace how such fiction can draw attention to the ways in which anthropocentric patterns of thought contribute to the catastrophic climatic implications of technoscientific culture.
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Dahlbäck, Katrin. "Fictional and Metafictional Strategies in Ian McEwan’s Novel Atonement (2001) and its Screen Adaptation (2007)." Thesis, Stockholms universitet, Engelska institutionen, 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-36996.
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The concept of distorting the line between fiction and reality appears to be one of the main themes in Ian McEwan’s Atonement (2001) as well as in Joe Wright’s screen adaptation of the novel, released in 2007. With the focus on the main character Briony Tallis this essay explores the influence that literature and fiction have on her, how they bring her to blur the line between them and reality and, to a lesser extent, the different ways in which the novel and its screen adaptation address this issue. Briony is first introduced as an author, underlining the importance that imagination holds for her, and it is this overactive imagination that causes her to misinterpret real events and thus accuse Robbie Turner for a crime he did not commit. To redeem herself Briony turns to fiction in an attempt to re-write the past; by blurring the line between fiction and reality, as defined by the restrictions of her novel, Briony gives Robbie and Cecilia a future within the pages of her book. The literary motifs and symbols, that are present within her novel, enhance the influence fiction and literature have on her. This is also emphasized by her characters’ relationship with literature, their use of literary works, and their characters. Briony, the character, strives to become Briony the author, thus emphasizing the importance that literature holds for her. Because Briony is trapped within the boundaries of her own imagination she has, in writing her novel, managed to hold Robbie and Cecilia captive in her imaginative world. Thus, finally achieving what she has been striving to do for during the greater part of her life: Briony, the author, can atone for the terrible ordeals that she caused decades previously.
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De, Coning Alexis. "Perversity on paper taboo, abjection and literature: Iain Banks' The wasp factory, Ian McEwan's The cement garden, and Irvine Welsh's Marabou stork nightmares." Thesis, Rhodes University, 2011. http://hdl.handle.net/10962/d1002247.
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This thesis explores the notion of perversity in literature, specifically with regard to representations of taboo and abjection in Iain Banks‟ The Wasp Factory, Ian McEwan‟s The Cement Garden, and Irvine Welsh‟s Marabou Stork Nightmares. Julia Kristeva‟s Powers of Horror: An Essay on Abjection, as well as her notion of revolt, constitute the central theoretical framework for my analysis. However, I also draw upon the concepts of monstrosity, grotesqueness and the uncanny in order to explicate the affect of abject fiction on the reader. I posit, then, that to engage with literary works that confront one with perversity, abjection and taboo entails exposing oneself to an ambiguous or liminal space in which culturally established values are both disrupted and affirmed. The subversive and revolutionary potential of the aforementioned novels is discussed with reference to the notion of the perverted Bildungsroman since, in their respective transgressions of taboos, the narrators of these novels disrupt social order, and their narratives end on a note of indeterminacy or the absolute finality of death, rather than self-actualisation. Moreover, in exposing the binaries of sex and gender as arbitrary and fluctuating, these narrators‟ perverse sexual and gender performativities gesture towards alternative modes of being (beyond social sanction), and invoke Kristeva‟s notion of individual revolt as a „condition necessary for the life of the mind and society‟.
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Arquié, Bruno. "De Darwin à la littérature : un regard évolutionniste sur des romans d'Ian McEwan et de Margaret Drabble." Nantes, 2015. http://www.theses.fr/2016NANT3008.
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Pop, Andreea. "L'évanescence du corps chez quelques auteurs postmodernes : domaines francophone et anglophone : Marie-Claire Blais, Pascal Bruckner, Marcel Moreau, John Banville, Ian McEwan, Joyce Carol Oates." Thesis, Clermont-Ferrand 2, 2016. http://www.theses.fr/2016CLF20012.
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L’évanescence suppose un état de précarité qui se nourrit de sa propre incomplétude. Le corps qui s’éthérise est en permanente déperdition de matérialité et d’énergie, ce qui amènera le détachement de la conscience. L’acheminement de l’état « tout-corps » à celui de « dé-corps » passe par trois régimes visuels : par l’opacité, associée à la pierre et à la figure de Thanatos, par la translucidité, qui concerne la chair et le feu érotique et, enfin, par la transparence du verre et de l’air, marquant l’entrée sur les territoires de Narcisse. Le thème du corps évanescent est développé autour de ces trois axes selon une logique centrée sur l’existence d’un seuil – décliné comme mur opaque, paroi organique translucide ou écran transparent. Ce seuil signale la transgression d’ordres et d’interdits. Lors du passage, le corps perd graduellement son ancrage dans la réalité concrète, qui s’estompe à vite allure pour faire place à un complexe espace-temps construit graduellement, dans le malheur de la maladie et de la mort ou dans la joie de la projection heureuse. Le corps évanescent tend vers un ailleurs qui s’organise à mesure que le premier s’efface. Ce double conditionnement s’accompagne d’innombrables régressions temporelles qui réverbèrent au niveau de la conscience incorporée sous la forme de la fissure qui entraîne le détachement. Sous le régime de la pierre l’évanescence se cristallise autour de l’image de la statue qui parcourt le trajet symbolique entre figement et vivification. Le marbre, le plâtre et le sable sont les trois motifs qui expriment l’idée de fragilisation de la matière. Le retour à la vie se prolonge dans la tiédeur de la chair réchauffée. Alors qu’elle atteint le seuil de la liquéfaction dans la fugue érotique, l’intensité de la sensation commence à diminuer, ce qui amène à un nouveau refroidissement. Dans le domaine de la transparence le corps subit des formes de détachement selon une logique qui va de la réflexion dans le miroir en tant qu’expression d’un moi naissant à l’extrême affaiblissement du caractère réfléchissant qui altère l’image de soi. Fenêtre, vitrine et écran sous-tendent l’effacement sous le régime de la transparence tout en créant l’illusion d’une intériorité. Comble du processus évanescent, le corps éthérique est mis en rapport avec l’ineffable de l’élément aérien. Cette forme de corporalité ultime exprime le détachement de la conscience, dans la joie comme dans la souffrance. Elle décrit un état de précarité absolue, qui met en avant le fait que tout en se délivrant de ses amarres matérielles la conscience tend à conserver un engramme qui assure la réincorporation, et avec elle, la survie. L’envol, le survol et la descente décrivent trois formes d’évanescence « aérienne » qui marquent le retour symbolique à l’opacité à travers des images d’épaississement : par les motifs de la vapeur, du brouillard ou de la nuit « polie » on est ramené au point de départ de la réflexion. L’histoire du corps évanescent, qui commence et achève par des images de la mort, est également l’histoire d’un continuel retour à la vie, aux forces pulsionnelles, à l’euphorie de se sentir vivantThe vanishing body depicts a state of extreme precariousness and reveals a progressive loss of substance and vitality which results in the disembodiment of the conscience. The way from being “all body” to being “out-of-body” is hallmarked by three visual categories, each one being assigned a certain classical element: stone, for opacity (the territory of Thanatos), erotic fire for the flesh representing translucency and air and glass for transparency, reminding Narcissus. In this structure water is always the transversal element. The theme is therefore sustained by a network of thresholds such as: the wall, the organic layer and the transparent or invisible screen. With every threshold comes the idea of transgression. Passing into another state or dimension interrupts the contact with reality which fades swiftly away and makes room for another time-space configuration gradually defined by death and illness, by joy and thrilling giddiness. The vanishing body tends to inhabit a no man’s land ever more present as the first one fades away. It is thus submitted to various temporal regressions which concern the embodied consciousness and evolves as a “crack” finally producing the separation body-conscience. Within the realms of Thanatos and the stone the evanescence concerns the representation of the statue which stiffens and then recovers the “flesh-state” progressively. The marble, the plaster and the sand present themselves as three “stages” of dematerialization. Coming back to life means entering a state of tepidness of the revived flesh. As the sexual temperature increases it reaches a threshold of erotic liquefaction which then diminishes to a new form of symbolic coldness represented by physical decay and loss of sexual interest. In the field of transparency the body suffers several forms of detachment stretching from the mirror reflection as expression of a newly-born ego to the extreme weakening of the reflexivity which alters the sense of self. Window, window display and transparent shield underlie the self-effacement and create the (illusion of) inhabitable space.Peak of the vanishing process, the ethereal body is finally connected to the air as classical element. This ultimate form of corporeality express the disembodiment of the conscience in symbolic projections of both joy and suffering. It shows a state of absolute precariousness which points out the fact that by loosening the grip on the immediate reality the consciousness tends to gradually build up an engram of the body which ensures the reincorporation and by that, the survival. The take-off, the overflight and the landing describe three forms of “aerial” vanishing which states a symbolic return to opacity declined through images of densification: the steam, the fog, and the “polished” opacity of the night represent a comeback to the starting point of reflection. The story of the vanishing body, which starts and ends through images of death, is nevertheless the story of the continuous return to life and its possibilities
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Lidén, Johanna, and Ann-Charlotte Bergquist. "Kort och gott : Relationen mellan form och innehåll i tre kortare prosatexter." Thesis, Kristianstad University, School of Teacher Education, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:hkr:diva-6866.
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Utgångspunkten för uppsatsen är att studera relationen mellan vissa aspekter av form och innehåll i tre kortare prosatexter. Dessa aspekter är framförallt berättarinstans, berättelsens uppbyggnad, och det i två av texterna utryckliga temat förändring. De valda texterna är kortromanen På Chesil Beach av Ian McEwan (2007), novellen ”Döden i Damaskus” av Anna-Karin Palm (2001) och kortromanen Berömmelse av Daniel Kehlmann (2010).
Litteraturvetenskapliga perspektiv och analysredskap är valda med tanke på att en av texterna påstår något om berättarens funktion, och att en av de andra texterna resonerar kring vad en berättelse är. De narratologiska verktygen faller sig därför naturliga. Den hermeneutiska metoden används i begränsad utsträckning för tolkningen av texterna. Resultatet av studien visar att texternas uppbyggnad i två av fallen tydligt medverkar till att gestalta texternas teman. Den vid första anblicken postmoderna texten Berömmelse – Roman i nio historier (2010) visar sig ha en mer sammanhängande struktur än som kanske märks vid en första snabb genomläsning. I samtliga tre texter är karaktärerna bärare av temat.
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Abreu, Relines Rufino de. "Mulher de papel, mulher de talento: a representação da escritora na ficção em Reparação, de Ian McEwan, e em Um beijo de colombina, de Adriana Lisboa." Universidade Federal de Juiz de Fora (UFJF), 2016. https://repositorio.ufjf.br/jspui/handle/ufjf/3054.
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CAPES - Coordenação de Aperfeiçoamento de Pessoal de Nível Superior
Esta tese tem como objetivo investigar a representação das escritoras personagens Teresa e Briony, nos romances Um Beijo de Colombina (2003), da brasileira Adriana Lisboa, e Reparação (2001), do inglês Ian McEwan, respectivamente. A hipótese principal recai na possibilidade das representações da artista, em Um Beijo de Colombina e Reparação, se constituírem como exemplos de produções literárias que rompem com o discurso a respeito da ficcionalização da personagem-escritora dentro dos gêneros Künstlerroman e Bildunsgroman. Essa hipótese baseia-se no fato de que, diante do recorte teórico dado pelos pesquisadores dessas modalidades literárias, as protagonistas de ambos os romances não seguem a tendência de representação da heroína-artista, pois se projetam para além das tensões de gêneros e dos obstáculos implantados pela sociedade patriarcal, adquirindo novas facetas ao exercerem a profissão. Ao longo do percurso deste estudo, foram arroladas a luta da escritora pela emancipação pessoal e a valorização da obra de arte de autoria feminina, assim como a representação da mulher de modo geral na ficção. As imagens pejorativas da mulher repercutem na tradição de representação de personagens-escritoras que se aventuram pelos labirintos da escrita em busca do autoconhecimento e da realização profissional. As heroínasartistas retratadas na ficção, dentro dos gêneros Bildungsroman e Künstlerroman, tradicionalmente, encontram um destino negativo em suas representações, devido à dificuldade em harmonizar a vida pessoal e a profissional. As protagonistas Briony e Teresa, no entanto, percorrem diversas fases do aperfeiçoamento pessoal e artístico, através das quais conseguem realizar a integração da vida privada e da vida pública.
This dissertation aims at investigating the representation of the female – writer characters Teresa and Briony in the novels Um Beijo de Colombina (2003), by the Brazilian author Adriana Lisboa, and Reparação (2001), written by the British Ian McEwan. The main hypothesis focus on the possibility of female artist representation in Um Beijo de Colombina and in Reparação constitute literary works that break with the fictionalization of womenwriter character discourse in Künstlerroman and Bildunsgroman genres. This hypothesis is based on the fact that on the theoretical framework given by the researchers of those literary forms, the protagonists of both novels do not follow the heroine-artist representation trend because they project themselves beyond gender tensions and obstacles inserted by patriarchal society, benefiting themselves from new facets to exercise their profession. Throughout the course of this study, it is described the woman writer's struggle for personal emancipation and enhancement of female authorship, as well as the representation of women in fiction. The negative images of women impact on the traditional representation of female character writers who venture through the literary art in search for self- knowledge and professional fulfillment. The heroine-artists portrayed in fiction, within the Bildunsgroman and Künstlerroman genres, traditionally face negative destiny in their representations because it is difficult for them to harmonize personal and professional life. The protagonists Briony and Teresa, however, go through different personal and artistic improvement stages, through which they succeed in integrating both private and public life.
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Sbrissa, Fernanda de Souza [UNESP]. "A independência das adapatações cinematográficas: uma análise de Amor Obsessivo (2004) e Desejo e Reparação (2007)." Universidade Estadual Paulista (UNESP), 2012. http://hdl.handle.net/11449/99107.
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Este trabalho tem como objetivo discutir a noção de adaptação cinematográfica como independente do texto fonte, a partir de considerações a respeito do dialogismo e da intertextualidade, baseando-se principalmente em teóricos como Robert Stam (2000; 2004; 2008), Linda Hutcheon (2006), Christine Geraghty (2008) e Thomas Leitch (2008a; 2008b). Após um panorama das teorias da área, a dissertação analisa dois filmes baseados em dois romances do escritor inglês Ian McEwan, Amor Obsessivo (2004) e Desejo e Reparação (2007), para demonstrar como o critério de fidelidade não é determinante para a qualidade e/ou sucesso da adaptação cinematográfica
The objective of this study is to discuss the notion of cinematographic adaptation as being independent of its source text, beginning with considerations concerning dialogism and intertextuality, based mainly on theoreticians like Robert Stam (2000; 2004; 2008), Linda Hutcheon (2006), Christine Geraghty (2008) and Thomas Leitch (2008a; 2008b). After an overview of the theories of the area, the dissertation analyses two films based on two novels written by the English writer Ian McEwan, Enduring Love (2004) and Atonement (2007), in order to show how the criterion of fidelity is not a determining factor in the quality and/or success of the cinematographic adaptation
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Griffiths, Philip. "Externalised texts of the self projections of the self in selected works of English literature." Tübingen Narr, 2008. http://d-nb.info/991822978/04.
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Gagneret, Diane. "Explorer la frontière : folie et genre(s) dans la littérature anglophone contemporaine." Thesis, Lyon, 2019. http://www.theses.fr/2019LYSEN056/document.
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Souvent conceptualisée comme l’envers ou l’opposé de la raison, la folie, presque toujours synonyme de débordement, semble vouée à outrepasser toute limite définitoire ou conceptuelle posée par la pensée rationnelle. Cette pulsion de délimitation ou de classification inhérente à la rationalité, trouve dans le genre l’une de ses expressions les plus représentatives. Partant du constat que la folie ne cesse de transgresser les frontières traditionnelles de genre, ce travail étudie les liens entre les représentations littéraires de la maladie mentale et les questions de genre sexué (« gender ») comme littéraire, dans un corpus composé de romans, nouvelles et pièces de théâtre de six auteurs (Janet Frame, Jenny Diski, Sarah Kane, Ian McEwan, Anthony Neilson et Will Self), publiés entre 1951 et 2004. Animées par une dynamique toujours renouvelée de subversion des catégories établies, ces oeuvres invitent à une réflexion sur le rapport particulier qu’entretient la folie à la frontière, qui de simple ligne de démarcation ou de séparation se fait point de contact, puis espace à part entière. À travers leurs représentations de la folie, les récits étudiés privilégient le plus souvent, en effet, une esthétique et une épistémologie de l’entre. Cette réflexion s’articule donc principalement autour des images et des usages de la liminalité dans ces histoires de fous et de folles qui, au fil de leur (re)définition de l’appartenance et de l’identité des textes et des individus, esquissent une cartographie mobile des « contrées à venir » dont Deleuze et Guattari font la destination de toute écritureTraditionally conceptualised as the underside or the outside of reason, madness most often rhymes with excess; as such, it continually threatens to transgress all definitional or conceptual limits set by rational thought. Indeed, at the core of rationality is an impulse to delimit and classify, of which categories of genre and gender are quintessential examples. Starting from the observation that depicting madness regularly entails crossing, questioning and redefining genre and gender boundaries, this work investigates how literary representations of madness relate to the classification and conceptualisation of gender and genre in a selection of novels, short stories and plays by six different writers – Janet Frame, Jenny Diski, Sarah Kane, Ian McEwan, Anthony Neilson, and Will Self – published between 1951 and 2004. With the subversion of established categories as their central aim and dynamics, these works call for an exploration of the specific way in which depictions of madness, by using the border as one of their core motifs, impact the conceptualisation of borders. No longer a mere demarcation or dividing line between spaces, or simply a meeting point, the border becomes a full-blown space for individuals and texts to inhabit. Indeed, through their representations of madness, the borderline stories under study seem to embrace and promote both an aesthetics and an epistemology of the in-between. This work therefore focuses on the images and uses of liminality in stories of madmen and madwomen that, by remapping textual and sexual identities, have begun to chart these “lands to come” which, according to Deleuze and Guattari, are the true destination of all writing
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Ciocia, Stefania. "Looking for latitude : the claim to truth and quest for authenticity in romance literature, with an analysis of romance affiliations with postmodern textual practices in the work of Paul Aster and Ian McEwan." Thesis, University of Kent, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.399602.
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Slimak, Louis Jason. "A MIND WITH A VIEW: COGNITIVE SCIENCE, NEUROSCIENCE AND CONTEMPORARY LITERATURE." Akron, OH : University of Akron, 2007. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=akron1176747219.
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Thesis (M.A.)--University of Akron, Dept. of English, 2007."May, 2007." Title from electronic thesis title page (viewed 4/26/2009) Advisor, Sheryl Stevenson; Faculty Reader, Bob Pope; Department Chair, Diana Reep; Dean of the College, Ronald F. Levant; Dean of the Graduate School, George R. Newkome. Includes bibliographical references.
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Perri, Emanuela. "The Trauma Towers: Dimensions of Trauma in 9/11 Literature." Master's thesis, Alma Mater Studiorum - Università di Bologna, 2015. http://amslaurea.unibo.it/8147/.
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The topic of this dissertation is the aspects of trauma and reaction to the traumatic experience that can be found in 9/11 literature. The research engages in a comparative analysis of five books that can be categorised as 9/11 literature, which means that the events of 9/11 are central in the novels and are a recurrent theme. The books have been written by authors of different nationalities: "Extremely Loud & Incredibily Close" by J. S. Foer, "Falling Man" by D. DeLillo, "Windows on the World" by F. Beigbeder, "Saturday" by I. McEwan and "The Reluctant Fundamentalist" by M. Hamid. The characters have either experienced the attacks personally or their lives have been largely influenced by the event. In either case, the protagonist has been traumatised by the tragedy. Therefore, in this study two different fields are fused together – the field of comparative literature and that of trauma studies.
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Bengtsson, Johanna. "Identitetens pris : Kritik, priser och kapitalcirkulation på det litterära fältet." Thesis, Uppsala universitet, Litteraturvetenskapliga institutionen, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-225547.
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The aim of this study is to study the construction of literary values. I have been looking at how literature awarded with sponsored literary prizes has been reviewed in four major English and American newspapers. I have been studying the reception of literature by Ian McEwan, Hilary Mantel, Colm Tóibín and Zadie Smith between 2000 and 2012. The prizes in focus are the Man Booker Prize, the Orange prize for fiction and the Costa Awards. There seems to be an increasing number of articles related to each author after they have been awarded a prize, however with little change in the content of the reviews. The non critical articles seems to move towards a more personal angle. I have also found that critics tend to position the authors’ works in comparision to canonised authorships rather than discussing the literature as awarded.
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Payandeh, Hossein. "Waking nightmares : a critical study of Ian McEwan's novels." Thesis, University of Sussex, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.326934.
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Andrews, Christina Chandler. "The transfiguring event : phenomenological readings of Ian McEwan's late fiction." Thesis, University of St Andrews, 2012. http://hdl.handle.net/10023/3133.
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This thesis performs a phenomenological reading of Ian McEwan's later novels, using the philosophy of Maurice Merleau-Ponty in particular. Chapter One examines fundamental concepts in Merleau-Ponty's phenomenology—perception, embodiment, inter-subjectivity, and ambiguity in Enduring Love. It also uses Levinas' idea of ‘the other' to tease apart the complexities of the novel's love triangle. Chapter Two examines Merleau-Ponty's ideas on history and memory and their relation to the self in Black Dogs. The phenomenological understanding of these terms allows us to re-evaluate the novel's status as ‘memoir'. Chapter Three presents Merleau-Ponty's ideas on perception and embodiment to explicate the phenomenon of misperception in Atonement. The reading focuses on the ambiguous, problematic nature of perception and the important role the body plays in establishing the ‘truth' of a traumatic event. Chapter Four investigates being-towards-death in Amsterdam, using both Heidegger's writings and Merleau-Ponty's concept of ‘co-existence'. The chapter also highlights Amsterdam's portrayal of authenticity and the effects of non-representation on the reader. Chapter Five examines On Chesil Beach's depiction of sexuality and language alongside Merleau-Ponty's writings on sexual being, the body, and expression. It illustrates that the Merleau-Pontian understanding of bodily and linguistic gesture provides insight into why McEwan's text focuses on both sexuality and language and how the failure of one often leads to a failure of both. It focuses on the various ‘misreadings' in On Chesil Beach. Chapter Six examines Saturday and its depiction of being-with-others after 9/11. Merleau-Ponty's phenomenology articulates the intertwined relationship of subjective and social realities portrayed in the novel. Saturday exemplifies Merleau-Ponty's argument that literature can show the true potential of phenomenological philosophy. By undertaking a phenomenological-literary study that emphasises the unveiling potential of McEwan's novels, this thesis illustrates one way that literature, like philosophy, ‘consists in relearning to look at the world' (Phenomenology of Perception 2002, xxiii).
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Hartvigsen, Anne Mette. "Sustainability or climate change? An ecocritical analysis of Ian McEwan’s Solar :." Thesis, Högskolan i Jönköping, Högskolan för lärande och kommunikation, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:hj:diva-28882.
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This essay is an ecocritical literary analysis of the novel Solar. The aim is to investigate the effect on the reader of the main characters, place, symbols and satire with focus on climate change and sustainability. The protagonist Michael Beard, a despicable, selfish antihero, consumes everything and everybody whereas Tom Aldous, the heroic character, is devoted to a life of sustainability. Beard represents the greedy capitalistic Western consumer society and its male leaders who close their eyes to the warnings of a changing climate, and Aldous represents the sustainable and alternative lifestyle. Humor and ridicule exhibits the weaknesses and greed of mankind in a satirical way. Symbols like cancer and the Co2 emitting transport system symbolize overconsumption and a stressed globe. The effect on the reader is a reflection about the ongoing struggle between climate change and sustainability and the demand for a change towards a sustainable lifestyle.
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Chálabi, Júlia Neves. "The redemption of literature: the making of fiction in Ian McEwan's Atonement." Universidade Federal de Minas Gerais, 2013. http://hdl.handle.net/1843/ECAP-98ZHS6.
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Atonement, by British author Ian McEwan, was published in 2001 and has as protagonist Briony Tallis, a talented girl who is a writer-to-be and who lives among the fantasies of her creative mind. While in the verge of adolescence she makes a serious mistake that affects the lives of those around her. Briony finds in literature a way of recreating the world and retelling the story she could not change. Because Atonement is a metafictional work, literature, literary composition, and the writing processes utilized by Briony and by McEwan are major interests of this thesis. The results show that Atonement presents, partially, a fragmented narrative, and its metafictional basis is developed under an untraditional realism, enabling significant shifts in the story and forcing the reader to resignify the categories of meaning and interpretation built throughout the reading. The novel-within-a-novel format makes Atonement peculiar to scrutinize in the sense that the limits between Brionys composition and McEwans become blurred. Atonement has literature as a theme and as a structuring element, creating main characters that not only are avid readers, literary enthusiasts, and scholars, but who have their relations mediated and constructed by/through literature. Furthermore, in the metafictional process triggered, the characters, already fictional devices, are fictionalized, and Briony, as being one of the authors, goes through self-fictionalization. It can be concluded that in the many fictional levels found in Atonement the novel presents itself as a postmodern piece, both thematically and structurally, and it promotes a dialogue with the British literary tradition. These intertextualities evoke different ways of looking at literature and at ways of making it in contemporaneity. In a postmodern moment when we seem to have overcome the fear of the exhaustion of literature, Atonement comes not to prove literature has indeed survived, but to ask what can be made out of the vast trajectory tradition has left usAtonement, do escritor britânico Ian McEwan, foi publicado em 2001, e apresenta a protagonista Briony Tallis, uma garota talentosa, interessada em escrever e que vive em meio às suas fantasias. É na intrigante fusão da realidade com a ficção que a pequena escritora comete um grave erro que afeta a vida daqueles à sua volta. Briony encontra na literatura uma forma de recriar o mundo e recontar a história que ela não pode mudar. Na última parte do livro, décadas depois e como uma renomada escritora, Briony assume a narrativa em primeira pessoa e explica que escreveu o livro imbuída do desejo de reparação pelo erro que cometera quando ainda criança. Dessa forma, a literatura e a composição literária são os principais focos dessa dissertação que busca entender como a literatura é representada, qual papel/função ela exerce na obra e a sua importância na construção dos personagens. Atonement é escrito em base metaficcional e os processos de escrita utilizados por Briony e por McEwan também são de interesse desta pesquisa. Os resultados alcançados são que Atonement apresenta uma narrativa fragmentada e sua metaficcionalidade está atrelada a um realismo não-tradicional, promovendo mudanças significativas na compreensão da obra e forçando o leitor a resignificar as categorias de sentido e interpretação erigidas ao longo da leitura. O formato romance-dentro-do-romance faz da análise de Atonement peculiar uma vez que os limites entre as composições de Briony e McEwan tornam-se imprecisos. Sendo uma obra altamente literária, Atonement faz da literatura um componente estruturador de sua narrativa, apresentando personagens que, além de ávidos leitores e entusiastas da literatura, têm suas relações mediadas e construídas pela mesma e também através dela. Ademais, no processo metaficcional desencadeado, os personagens (que já são por si só artifícios ficcionais) são ficcionalizados e Briony, como sendo um dos autores, passa pelo processo de auto-ficionalização. Pode ser concluído que nos vários níveis de ficcionalidade encontrados em Atonement o romance se apresenta como uma obra pós-moderna tanto temática quanto estruturalmente, e a mesma promove um diálogo com a tradição literária britânica intertextualidades que evocam diferentes modos de olhar a literatura e o fazer literário na contemporaneidade. Num momento em que parece ter sido superado o medo da exaustão da literatura, Atonement surge não com o intuito de provar que a mesma de fato sobreviveu, mas para perguntar o que pode ser feito com legado que a literatura nos deixou.
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Leupolt, Cécile [Verfasser]. "Imagination in Ian McEwan's Fiction : A Literary and Cognitive Science Approach / Cécile Leupolt." Frankfurt a.M. : Peter Lang GmbH, Internationaler Verlag der Wissenschaften, 2018. http://d-nb.info/1161046348/34.
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Austin, Anthony. "Brexit, Brexlit and the (Dis)United Kingdom: Responses to Brexit in post-referendum British novels." Thesis, The University of Sydney, 2023. https://hdl.handle.net/2123/30066.
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The United Kingdom’s decision to leave the European Union – the so-called ‘Brexit’ referendum of 23 June 2016 – represents one of the most significant political moments in recent British history. The Brexit vote revealed long-established divisions within British society, ones which threaten the continued unity of the four constituent countries of England, Scotland, Wales and Northern Ireland. Brexit is undoubtedly an event in national and international politics, but it is also an event in culture, contributing to the emergence of new cultural forms which seek to reflect on and represent the state of the UK in the contemporary moment. This thesis’s focus is on fictional literatures which have arisen in the aftermath of the referendum – or ‘Brexlits’, to use Kristian Shaw’s term. Specifically, it employs a close analysis of several British novels published since June 2016 in order to shed light on Brexit’s divisions, and offer somewhat of an explanation for disparate voting patterns across the four constituent countries. Recognising that conceptions of national identity both contributed to Brexit, and will inevitably be influenced by its aftermath, the thesis adopts national identity as a lens through which to read the fictions, with Northern Ireland, Wales, Scotland and England treated as distinct entities. While some similarities are noted across the national literatures, differences with respect to content, style and form are of greater significance. These divergences affirm the national divisions Brexit represents, and suggests that the continued existence of the United Kingdom in its current form is not guaranteed.
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Davies, Ben. "Exceptional intercourse : sex, time and space in contemporary novels by male British and American writers." Thesis, University of St Andrews, 2011. http://hdl.handle.net/10023/2582.
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This thesis provides a theory of exceptional sex through close readings of contemporary novels by male British and American writers. I take as my overriding methodological approach Giorgio Agamben’s theory of the state of exception, which is a juridico-political state in which the law has been suspended and the difference between rule and transgression is indistinguishable. Within this state, the spatiotemporal markers inside and outside also become indeterminable, making it impossible to tell whether one is inside or outside time and space. Using this framework, I work through narratives of sexual interaction – On Chesil Beach, Gertrude and Claudius, Sabbath’s Theater, and The Act of Love – to conceptualise categories of sexual exceptionality. My study is not a survey, and the texts have been chosen as they focus on different sexual behaviours, thereby opening up a variety of sexual exceptionalities. I concentrate on male writers and narratives of heterosexual sex as most work on sex, time and space is comprised of feminist readings of literature by women and queer work on gay, lesbian or trans writers and narratives. However, in the Coda I expand my argument by turning to Emma Donoghue’s Room, which, as the protagonist has been trapped for the first five years of his life, provides a tabula rasa’s perspective of exceptionality. Through my analysis of exceptionality, I provide spatiotemporal readings of the hymen, incest, adultery, sexual listening and the arranged affair. I also conceptualise textual exceptionalities – the incestuous prequel, auricular reading and the positionality of the narrator, the reader and literary characters. Exceptional sex challenges the assumption in recent queer theory that to be out of time is ‘queer’ and to be in time is ‘straight’. Furthermore, exceptionality complicates the concepts of perversion and transgression as the norm and its transgression become indistinct in the state of exception. In contrast, exceptionality offers a new, more determinate way to analyse narratives of sex.