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Journal articles on the topic 'Unreliable narration'

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Published: 4 June 2021
Last updated: 26 January 2023

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1

Schloder, Julian J. "Unreliable Narration and Dual Perspective." Epistemology & Philosophy of Science 59, no. 2 (2022): 66–71. http://dx.doi.org/10.5840/eps202259222.

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In Unreliability and Point of View in Filmic Narration, Emar Maier makes a distinction between reliable and unreliable narrators. The latter, Maier claims, must be a first-person narrator, as an impersonal, third-person narrator lacks an individual perspective that can be unreliable (with some exceptions he sets aside). He concludes that most film adaptations of unreliably narrated novels are not themselves unreliably narrated, for they feature third person perspectives (not through the novel’s narrator’s eyes). I take Maier’s major claims to be (1) that there is a strict distinction between r
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2

Fludernik, Monika. "Unreliable Narration." Poetica 32, no. 1-2 (2000): 251–55. http://dx.doi.org/10.30965/25890530-032-01-02-90000012.

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3

Champagne, Marc. "Why Philosophy of Language is Unreliable for Understanding Unreliable Filmic Narration." Epistemology & Philosophy of Science 59, no. 2 (2022): 43–50. http://dx.doi.org/10.5840/eps202259219.

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A typical device in film is to have a character narrating what is going on (sometimes by voice-over), but this narration is not always a reliable guide to the events. According to Maier, distortions may be caused by the narrator’s intent, naivety, use of drugs, and/or cognitive disorder/illness. What is common to these various causes, he argues, is the presence of a point of view, which appears in a movie as shots. While this perspective-based account of unreliability covers most cases, I unpack its methodological consequences and gesture at a possibility that Maier’s analysis overlooks. A nar
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4

Liefke, Kristina. "The Filmic Representation of ‘Relived’ Experiences." Epistemology & Philosophy of Science 59, no. 2 (2022): 56–65. http://dx.doi.org/10.5840/eps202259221.

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This comment discusses Emar Maier’s argument against the characterization of unreliable filmic narration as (first-)personal narration. My comment focuses on two assumptions of Maier’s argument, viz. that the narrating character’s mental states can be described independently of other mental states/experiences and that personal filmic narration can only proceed from a de se perspective (as captured by first-person shots). I contend that the majority of movies with unreliable narration represents an experientially parasitic mental state (typically, the character’s remembering – or ‘reliving’ – a
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5

Kindt, Tom, and Tilmann Köppe. "Unreliable Narration Preface." Journal of Literary Theory 5, no. 1 (2011): 1. http://dx.doi.org/10.1515/jlt.2011.002.

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6

Maier, Emar. "Unreliability and Point of View in Filmic Narration." Epistemology & Philosophy of Science 59, no. 2 (2022): 23–37. http://dx.doi.org/10.5840/eps202259217.

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Novels like Fight Club or American Psycho are said to be instances of unreliable narration: the first person narrator presents an evidently distorted picture of the fictional world. The film adaptations of these novels are likewise said to involve unreliable narration. I resist this extension of the term ‘unreliable narration’ to film. My argument for this rests on the observation that unreliable narration requires a personal narrator while film typically involves an impersonal narrator (corresponding to the camera viewpoint). The kind of ambiguous story-telling that we find in literary fictio
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WINDSOR, MATTHEW. "Narrative Kill or Capture: Unreliable Narration in International Law." Leiden Journal of International Law 28, no. 4 (2015): 743–69. http://dx.doi.org/10.1017/s0922156515000412.

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AbstractThis article evaluates the benefits of a ‘turn to narration’ in international legal scholarship. It argues that significant attention should be paid to the narrators who employ international law as a vocabulary to further their professional projects. Theories of unreliable narration help map consensus within international law's interpretive community in a manner that is acutely sensitive to point of view and perspective. The article examines the existence and extent of unreliable narration through a case study: the practice of targeted killing by the Obama administration in the United
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Klimek, Sonja. "Unzuverlässiges Erzählen als werkübergreifende Kategorie. Personale und impersonale Erzählinstanzen im phantastischen Kriminalroman." Journal of Literary Theory 12, no. 1 (2018): 29–54. http://dx.doi.org/10.1515/jlt-2018-0003.

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Abstract This paper explores why unreliable narration should be considered as a concept not only applying to single works of fiction, but also to whole series of fiction, and why impersonal (›omniscient‹) narration can also be suspected of unreliability. Some literary genres show a great affinity to unreliable narration. In fantastic literature (in the narrower sense of the term), for instance, the reader’s »hesitation« towards which reality system rules within the fictive world often is due to the narration of an autodiegetic narrator whose credibility is not beyond doubt. Detective stories,
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9

Dragalina-Chernaya, Elena G. "The Unreliable Narrator’s “Paper Eyes” in Visual Storytelling." Epistemology & Philosophy of Science 59, no. 2 (2022): 51–55. http://dx.doi.org/10.5840/eps202259220.

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Highlighting the, as called by Emar Maier, blended perspective shots in cinematic narrative with an unreliable narrator allows us to escape the dilemma of the omniscient cinema-eye (Kino-Glaz, 1924) and of the false narrator’s paper eyes (Бумажные глаза Пришвина / Prishvin’s Paper Eyes, 1989). The following commentary on Maier’s paper detects the performative nature of the contradictions generated by using blended perspective in cinema narration with an unreliable storyteller. It also demonstrates the heuristicity of the concept of blended perspective to Cartesian philosophical narrative analy
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10

Jacke, Janina. "Unreliability and Narrator Types. On the Application Area of ›Unreliable Narration‹." Journal of Literary Theory 12, no. 1 (2018): 3–28. http://dx.doi.org/10.1515/jlt-2018-0002.

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Abstract The narratological concept of unreliable narration is subject to constant debate. While this debate affects different kinds of problems associated with unreliability, one of the central issues concerns the application area of ›unreliable narration‹. Here, theorists discuss, for example, whether there are certain types of narrators that cannot be unreliable, whether some kinds of narrators are necessarily unreliable, or in which way other characters apart from narrators can also be unreliable. It is the first one of these questions that I am addressing in this paper: Are there types of
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11

Ohme, Andreas. "Der heterodiegetische Präsensroman – ein Fall von unreliable narration?" Journal of Literary Theory 12, no. 1 (2018): 93–112. http://dx.doi.org/10.1515/jlt-2018-0006.

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Abstract Research has shown that the present-tense novel poses significant logical problems of narrative mediation. For this reason, the current essay addresses the question of whether, due to these problems, the heterodiegetic present-tense novel is a case of unreliable narration. To this end, the essay first discusses the sustainability of the concept of unreliability. Its point of departure is the observation that researchers have created significant confusion by applying a characterological concept to literary phenomena. Despite an overwhelming amount of pertinent essays and monographs on
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12

Beyvers, Sarah E. "The game of narrative authority: Subversive wandering and unreliable narration in The Stanley Parable." Journal of Gaming & Virtual Worlds 12, no. 1 (2020): 7–21. http://dx.doi.org/10.1386/jgvw_00002_1.

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This article explores how players’ attempts at subversive wandering in The Stanley Parable (2013) render the game’s narration unreliable and thus reveal its comments on the nature of ‘agency’ in video games. Unreliability brings the act of narration itself to the fore and exposes its mechanisms of manipulation. Players of The Stanley Parable may seek to contradict the voice-over narration subversively. They must find out, however, that, even though the narrator’s authorial omniscience and power are an illusion, they cannot break away from the predetermined path the game lays out. The narrator
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13

Gerasimenko, E. V. "THE SEMANTICS OF THE TYPE OF NARRATION IN THE NOVEL “GONE GIRL” BY G. FLYNN." Bulletin of Udmurt University. Series History and Philology 29, no. 3 (2019): 529–33. http://dx.doi.org/10.35634/2412-9534-2019-29-3-529-533.

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This article reveals the definition of “narration”, which is closely related to such categories as “narrator” and “types of narration”. The characteristics that influence the types of narration are analyzed. Scientists pay attention to the narrator’s awareness, his/her presence in the novel, his/her attitude to other characters, and according to that identify the types of the narrator. The form and type of narration of the modern American novel “Gone Girl” by G. Flynn influences the creation and revealing of heros’ images. The narrators describe the same events from their own points of view. T
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14

Мурзахмедова, Гульнара, and К. Касымова. "THE PHENOMENON OF THE «UNRELIABLE» NARRATOR IN V. NABOKOV'S NOVEL «LOLITA»." Vestnik Bishkek state university af. K. Karasaev 1, no. 59 (2022): 36–38. http://dx.doi.org/10.35254/bhu/2022.59.36.

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The article deals with the phenomenon of «unreliable» narrator, the description of which is one of the current problems of modern literary studies. In the literary text the presence of the «unreliable» narrator is realized through a complex of textual signals, such as first-person narration, contradictions in the narration and description of the same event, an abundance of detailed descriptions, linguistic «sophistication», direct appeal to the reader, self-personal recognition of «imperfections» and failures of memory et cetera. In the example of V. Nabokov's novel «Lolita» shows how the figu
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15

Lastochkina, Anna S., and Diana M. Korobova. "On the Semantics of Unreliable Narration." Vestnik of Saint Petersburg University. Language and Literature 14, no. 3 (2017): 317–25. http://dx.doi.org/10.21638/11701/spbu09.2017.302.

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16

Del Gobbo, Daniel. "Unreliable Narration in Law and Fiction." Canadian Journal of Law & Jurisprudence 30, no. 2 (2017): 311–38. http://dx.doi.org/10.1017/cjlj.2017.15.

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This article revisits long-standing debates about objective interpretation in the common law system by focusing on a crime novel by Agatha Christie and judicial opinion by the Ontario High Court. Conventions of the crime fiction and judicial opinion genres inform readers’ assumption that the two texts are objectively interpretable. This article challenges this assumption by demonstrating that unreliable narration is often, if not always, a feature of written communication. Judges, like crime fiction writers, are storytellers. While these authors might intend for their stories to be read in cer
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17

Löwe, Matthias. "Unzuverlässigkeit bei heterodiegetischen Erzählern: Konturierung eines Konzepts an Beispielen von Thomas Mann und Goethe." Journal of Literary Theory 12, no. 1 (2018): 77–92. http://dx.doi.org/10.1515/jlt-2018-0005.

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Abstract Heterodiegetic narrators are not present in the story they tell. That is how Gérard Genette has defined heterodiegesis. But this definition of heterodiegesis leaves open what ›absence‹ of the narrator really means: If a friend of the protagonist tells the story but does not appear in it, is he therefore heterodiegetic? Or if a narrator tells something that happened before his lifetime, is he therefore heterodiegetic? These open questions reveal the vagueness of Genette’s definition. However, Simone Elisabeth Lang has recently made a clearer proposal to define heterodiegesis. She argue
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18

Schlickers, Sabine. "Perturbatory narration in literature und film." Frontiers of Narrative Studies 3, no. 2 (2017): 206–23. http://dx.doi.org/10.1515/fns-2017-0014.

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AbstractPerturbatory narration is a new transmedial narratological concept conceived in order to analyze how innovative experimental fictional texts irritate the reader or spectator by transgressing or annulating the rules of the common narrative system. We distinguish three ludic narrative techniques which are sometimes even mutually exclusive, but nevertheless frequently combined in literary and filmic fiction. Perturbatory narration serves to model and systematize a narrative principle which combines devices of these three strategies, in particular of unreliable narration, paradoxical narra
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19

Weszczykowa, Ołena. "НАРАТИВНІ СТРАТЕГІЇ В РОМАНІ ІЛЛАРІОНА ПАВЛЮКА БІЛИЙ ПОПІЛ". Studia Ukrainica Posnaniensia 9, № 1 (2021): 121–30. http://dx.doi.org/10.14746/sup.2021.9.1.10.

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The article is devoted to the analysis of narrative strategies in the debut novel of Illarion Pavliuk White Ashes. Taking into consideration the author’s intention and tracking the influence of the textual indicia on the recipient, the article aims to find out how the narration is organized and what artistic effects the author was trying to achieve. The features of retrodetective and noir as “adrenaline” genres present in the novel are analyzed. The cinematic qualities of the work as a result of the author’s intention is marked. The leading narrative strategy used in the novel, the intertextua
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20

Ur Rehman, Habib. "جہالت ِ راوی کے مصداق اور حکم میں محدثین و اصولیین کا منہج و اسلوب Method and Style of Muḥaddithīn and Uṣūliyyīn regarding the Meaning and Ruling of Obscurity of the Narrator". Al-Wifaq, № 4.2 (31 грудня 2021): 21–44. http://dx.doi.org/10.55603/alwifaq.v4i2.u2.

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The obscurity of the narrator is one of the reasons for defamation in the narrator, on the basis of which the narrator is deprived of the status of acceptance. There is a difference of opinion among Muḥaddithīn and Uṣūliyyīn as to its meaning and there is also a difference in ruling on the basis of this. According to the Muḥaddithīn, obscurity depends on the number of narrators narrating from a narrator, and according to the Ḥanafī Uṣūliyyīn, it depends on the number of narrations. Therefore, if two or more narrators narrate from a narrator, he will go out of obscurity, while according to the
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21

Emara, Maha Abdel Moneim. "Kazuo Ishiguro’s The Remains of the Day: A Historiographical Approach." English Language and Literature Studies 5, no. 4 (2015): 8. http://dx.doi.org/10.5539/ells.v5n4p8.

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<p>This paper attempts to analyze Kazuo Ishiguro’s <em>The Remains of the Day</em>, in the light of various ramifications of postmodern critical historiographical approaches. It investigates the different narrative strategies Ishiguro uses to narrate historical events and dismantle objectivity mainly; backshadowing, intermixing of historical and personal incidents, and first-person unreliable narrator. Great deal of Ishiguro’s text depth and complexity arises from the unreliability of the narrator whose narration presents several interpretive versions and controversial issues
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22

Aumüller, Matthias. "Offenheit und Geschlossenheit als Funktionen des unzuverlässigen Erzählens. Mit Interpretationsbeispielen anhand von Texten von Ernst Weiß, Paul Zech und Stefan Zweig." Journal of Literary Theory 12, no. 1 (2018): 127–50. http://dx.doi.org/10.1515/jlt-2018-0008.

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Abstract The paper surveys two different functions that may be ascribed to unreliable narratives. Derived from the notion of technique (Russian »priëm«, German »Verfahren«), function is a key concept of literary theory, which relates textual properties to effects. One of the functions, in recent time related to unreliable narration, is deception. In order to appreciate the literary effect of deception, the reader must finally understand that s/he has been deceived for a certain time. In other words, in order to recognize that s/he has been deceived, the reader must find out what is the case in
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23

Schaffer, Rachel. "Unreliable Narration in Liza Cody's Eva Wylie Series." Storytelling: A Critical Journal of Popular Narrative 6, no. 1 (2006): 33–41. http://dx.doi.org/10.3200/stor.6.1.33-41.

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24

Segal, Eyal. "Unreliable Narration and Trustworthiness: Intermedial and Interdisciplinary Perspectives." Poetics Today 37, no. 4 (2016): 715–17. http://dx.doi.org/10.1215/03335372-3638358.

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James Phelan. "Reliable, Unreliable, and Deficient Narration: A Rhetorical Account." Narrative Culture 4, no. 1 (2017): 89. http://dx.doi.org/10.13110/narrcult.4.1.0089.

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26

Eickholt, Swen Schulte, and Andreas Schwengel. "Unzuverlässiges Erzählen in der Heterodiegese in Daniel Kehlmanns historischem Roman ,,Tyll“." Zeitschrift für Germanistik 31, no. 1 (2021): 69–85. http://dx.doi.org/10.3726/92168_69.

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Abstract Lange galt unzuverlässiges Erzählen als Sonderfall homodiegetischen Erzählens, was erst jüngst hinterfragt wurde. Der Artikel zeigt, dass die ontologische Klassifizierung nach Genette zu kurz greift. Unzuverlässigkeit scheint in der Heterodiegese besonders bei unzuverlässigen Reflektoren oder als mimetische Unzuverlässigkeit möglich. Dazu ist insbesondere die Perspektive des Erzählers zu untersuchen. Am Beispiel von Kehlmanns historischem Roman Tyll kann gezeigt werden, dass auch Gattungsvorgaben das Spiel mit unzuverlässigem Erzählen grundieren. Tyll erscheint als Spiel mit erzähleri
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Eickholt, Swen Schulte, and Andreas Schwengel. "Unzuverlässiges Erzählen in der Heterodiegese in Daniel Kehlmanns historischem Roman ,,Tyll“." Zeitschrift für Germanistik 31, no. 1 (2021): 69–85. http://dx.doi.org/10.3726/92168_69.

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Abstract Lange galt unzuverlässiges Erzählen als Sonderfall homodiegetischen Erzählens, was erst jüngst hinterfragt wurde. Der Artikel zeigt, dass die ontologische Klassifizierung nach Genette zu kurz greift. Unzuverlässigkeit scheint in der Heterodiegese besonders bei unzuverlässigen Reflektoren oder als mimetische Unzuverlässigkeit möglich. Dazu ist insbesondere die Perspektive des Erzählers zu untersuchen. Am Beispiel von Kehlmanns historischem Roman Tyll kann gezeigt werden, dass auch Gattungsvorgaben das Spiel mit unzuverlässigem Erzählen grundieren. Tyll erscheint als Spiel mit erzähleri
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28

Lang, Simone Elisabeth. "Unzuverlässigkeit und Heterodiegese: Überlegungen zu den Möglichkeiten und Bedingungen unzuverlässigen Erzählens in heterodiegetischen Texten." Journal of Literary Theory 12, no. 1 (2018): 55–76. http://dx.doi.org/10.1515/jlt-2018-0004.

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Abstract It has long been insisted that there is no actual heterodiegetic unreliability, since heterodiegetic narrators first stipulate the fictive world through their speech and hence are omniscient (see Martínez-Bonati 1973, 186; Ryan 1981, 531; Jahn 1998, 101; Fludernik 2003, 213; Cohn 2000, above all 312; Petterson 2005, 73). Moreover, as a consequence of this assumption about what is meant by heterodiegesis, it has been deduced that heterodiegetic narrators cannot make false statements – for whatever reasons – about the composition of the fictive world. In the present article, I would lik
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29

Csönge, Tamás. "Moving Picture, Lying Image: Unreliable Cinematic Narratives." Acta Universitatis Sapientiae, Film and Media Studies 10, no. 1 (2015): 89–104. http://dx.doi.org/10.1515/ausfm-2015-0028.

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Abstract By coining the term “unreliable narrator” Wayne Booth hypothesized another agent in his model besides the author, the implicit author, to explain the double coding of narratives where a distorted view of reality and the exposure of this distortion are presented simultaneously. The article deals with the applicability of the concept in visual narratives. Since unreliability is traditionally considered to be intertwined with first person narratives, it works through subjective mediators. According to scholarly literature on the subject, the narrator has to be strongly characterized, or
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Wang, Ni. "Analysis of Unreliable Narration in Edgar Allan Poe’s The Tell-Tale Heart." Pacific International Journal 5, no. 1 (2022): 28–31. http://dx.doi.org/10.55014/pij.v5i1.147.

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Edgar Allan Poe was a 19th century American poet, novelist and literary critic. His novel is recognized as the pinnacle of short gothic fiction, a unique existence in any era. The Tell-Tale Heart is a typical Gothic mystery novel of Edgar Allan Poe. The novel tells the process of a crazy young man killing an old man and the psychological changes during the process from a first-person perspective. Much researches had done at home and abroad about The Tell-Tale Heart, mainly around the narrative aesthetics, narrative style and the gothic style, etc., however, few researches focus on reliable nar
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Підодвірна, М. І. "Manifestations of the bias of an unreliable narrator in novel by V. Domontovich “Doctor Serafikus”." Studia Philologica, no. 10 (2018): 132–38. http://dx.doi.org/10.28925/2311-2425.2018.10.20.

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The results and achievements of the main schools and directions of naratology indicate the need to reread both well-known and recondite texts in order to spell out the meanings. We believe that the narrative analysis of prose by Victor Domontovich (the Ukrainian intellectual writer) is interesting and relevant. The article attempts to characterize the manifestations of the bias of an unreliable narato in the novel “Doctor Seraficus” based on the A. Nyuninga’s cognitive approach. A modern German researcher provides a set of tools that can supplemented for a multidimensional consideration of all
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Lastochkina, Anna S. "Unreliable Narration in W. Golding’s Novel “Rites of Passage”." Vestnik of Saint Petersburg University. Language and Literature 14, no. 1 (2017): 17–26. http://dx.doi.org/10.21638/11701/spbu09.2017.102.

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Kalinina, Ekaterina Valentinovna. "UNRELIABLE NARRATION AS A TENDENCY IN MODERN LITERARY DISCOURSE." V mire nauchnykh otkrytiy, no. 9.2 (December 1, 2014): 979. http://dx.doi.org/10.12731/wsd-2014-9.2-22.

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Nünning, Vera. "22. Unreliable Narration and Trustworthiness: Intermedial and Interdisciplinary Perspectives." English and American Studies in German 2015, no. 1 (2015): 36–38. http://dx.doi.org/10.1515/east-2016-0023.

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DE REUCK, JENNY. "STEREOSCOPIC PERSPECTIVES: TRANSMISSION AND RECEPTION IN UNRELIABLE HOMODIEGETIC NARRATION." Journal of the Australasian Universities Language and Literature Association 74, no. 1 (1990): 154–68. http://dx.doi.org/10.1179/aulla.1990.011.

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Kukkonen, Karin. "Flouting figures: Uncooperative narration in the fiction of Eliza Haywood." Language and Literature: International Journal of Stylistics 22, no. 3 (2013): 205–18. http://dx.doi.org/10.1177/0963947013489238.

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Eliza Haywood’s narrators often display what could be termed ‘uncooperative narration’ in that they defy the smooth course that fictional narration is supposed to take, and claim to be unable to narrate strongly emotional states (in Love in Excess, 2000; first published 1719) or precipitate readers’ reactions to future events (in The History of Miss Betsy Thoughtless, 1998; first published 1751). Haywood’s strategies of uncooperative narration are based on rhetorical figures which flout the cooperative principle underlying human communication according to Grice: the denial of narration, adynat
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Ng, Michael H. M. "Is Julian Barnes Reliable in Narrating the Noise of Time?" English Language and Literature Studies 9, no. 1 (2019): 114. http://dx.doi.org/10.5539/ells.v9n1p114.

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Wayne C. Booth says that a novelist creates an implied author that is an ideal, literary, and created version of the real author. Seymour Chatman has emphasized the implied author is a principle that invents the narrator who has the direct means of communicating. Chatman says it is important distinguish among narrator, implied author, and real author. 
 
 Booth originally says that unreliable narrators vary on how far and in what direction they depart from the author’s norms. The concept of Booth’s term ‘unreliable narrator’ has been a subject
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Krichevsky, G. A. "Epistolary Mechanism and Unreliable Narrator in Novel by V. V. Nabokov “Once in Aleppo…”." Nauchnyi dialog 11, no. 9 (2022): 179–95. http://dx.doi.org/10.24224/2227-1295-2022-11-9-179-195.

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The cases of V. V. Nabokov’s appeal to the epistolary mechanism are considered. It turns out that the epistolary genre, as well as V. V. Nabokov’s metanarrative reflection create a dual context around the narrator, who mixes with the character. In particular, the prospect of interpreting the epistolary text is assessed, taking into account the concept of an unreliable narrator on the example of V. V. Nabokov’s 1943 short story. It is suggested that a participant in literary correspondence can be classified as an unreliable narrator, especially if his narration fluctuates between an inadequate
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Stevens, Kevin. "“Eccentric Murmurs”: Noise, Voice, and Unreliable Narration in Jane Eyre." Narrative 26, no. 2 (2018): 201–20. http://dx.doi.org/10.1353/nar.2018.0010.

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Russlies, Verena. "Das unwahrscheinlich (un-)zuverlässige Erzählen in Wolfgang Herrndorfs ,,Sand“." Zeitschrift für Germanistik 31, no. 1 (2021): 36–52. http://dx.doi.org/10.3726/92168_36.

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Abstract Der Beitrag untersucht die potenziell unzuverlässige Erzählweise von Wolfgang Herrndorfs Roman Sand. Dabei werden signifikante Abweichungen von der textevozierten Leseerwartung, die u. a. auf Rezeptionskonventionen der Kriminalliteratur aufbaut, als Indizien für mimetische Unzuverlässigkeit gelesen. Obwohl der Grad erzählerischer Unzuverlässigkeit stark interpretationsabhängig bleibt, wird deutlich, dass diese im Werk hauptsächlich autoreferenzielle Funktionen übernimmt.This article examines the potential unreliable narration in Wolfgang Herrndorf’s novel Sand. In doing so, the signif
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Russlies, Verena. "Das unwahrscheinlich (un-)zuverlässige Erzählen in Wolfgang Herrndorfs ,,Sand“." Zeitschrift für Germanistik 31, no. 1 (2021): 36–52. http://dx.doi.org/10.3726/92168_36.

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Abstract Der Beitrag untersucht die potenziell unzuverlässige Erzählweise von Wolfgang Herrndorfs Roman Sand. Dabei werden signifikante Abweichungen von der textevozierten Leseerwartung, die u. a. auf Rezeptionskonventionen der Kriminalliteratur aufbaut, als Indizien für mimetische Unzuverlässigkeit gelesen. Obwohl der Grad erzählerischer Unzuverlässigkeit stark interpretationsabhängig bleibt, wird deutlich, dass diese im Werk hauptsächlich autoreferenzielle Funktionen übernimmt.This article examines the potential unreliable narration in Wolfgang Herrndorf’s novel Sand. In doing so, the signif
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Morrey, Douglas. "From Confusion to Conversion." Poetics Today 41, no. 3 (2020): 347–67. http://dx.doi.org/10.1215/03335372-8519614.

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Submission (2015), a novel in which a Muslim political party is elected to govern France, has been widely interpreted as part of a ubiquitous discourse of “declinism” in contemporary French intellectual culture. The novel has been accused of complicity with a reactionary politics favoring a return to strong patriarchal authority and national pride, while the narrative of the triumph of political Islam is frequently interpreted as a thinly veiled act of Islamophobia. This ideological interpretation is, however, complicated by the bad faith of the novel’s unreliable narrator, and by the ironic t
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Borisenko, Yu A., and E. S. Pankratova. "SPECIFIC FEATURES OF TRANSLATING LITERARY TEXTS TOLD BY THE UNRELIABLE NARRATOR (BASED ON “THE CURIOUS INCIDENT OF A DOG IN THE NIGHT-TIME” BY M. HADDON)." Russian Journal of Multilingualism and Education 12 (December 25, 2020): 118–26. http://dx.doi.org/10.35634/2500-0748-2020-12-118-126.

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The paper focuses on the peculiarities of literary translation of the texts where the story is told by an unreliable narrator. This relatively new way of narration has not been properly considered yet, as well as the criteria of an unreliable narrator and the translation strategy that should be chosen while translating such fiction. The paper discusses the features of this literary device, its functions and the ways of its linguistic representation. The paper is based on the novel “The Curious Incident of the Dog in the Night-Time” by M. Haddon and its translation into Russian made by A. Kukle
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Borisenko, Yu A., and E. S. Pankratova. "SPECIFIC FEATURES OF TRANSLATING LITERARY TEXTS TOLD BY THE UNRELIABLE NARRATOR (BASED ON “THE CURIOUS INCIDENT OF A DOG IN THE NIGHT-TIME” BY M. HADDON)." Russian Journal of Multilingualism and Education 12 (December 25, 2020): 118–26. http://dx.doi.org/10.35634/2500-0748-2020-12-118-126.

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The paper focuses on the peculiarities of literary translation of the texts where the story is told by an unreliable narrator. This relatively new way of narration has not been properly considered yet, as well as the criteria of an unreliable narrator and the translation strategy that should be chosen while translating such fiction. The paper discusses the features of this literary device, its functions and the ways of its linguistic representation. The paper is based on the novel “The Curious Incident of the Dog in the Night-Time” by M. Haddon and its translation into Russian made by A. Kukle
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Park, Jin. "The Rhetoric of Unreliable Narration and The Dynamics of Reading Processes." Journal of Korean Fiction Research 74 (June 30, 2019): 217–46. http://dx.doi.org/10.20483/jkfr.2019.06.74.217.

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莫, 翠华. "A Rhetorical-Cognitive Analysis of Unreliable Narration in The Woman Warrior." World Literature Studies 02, no. 04 (2014): 47–51. http://dx.doi.org/10.12677/wls.2014.24008.

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Nais, Lisa. "Authorship, Autobiography, and Unreliable Narration: Blurring Concepts in Constance Fletcher’s Mirage." ANQ: A Quarterly Journal of Short Articles, Notes and Reviews 33, no. 1 (2019): 63–68. http://dx.doi.org/10.1080/0895769x.2019.1577715.

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Bareis, J. Alexander. "The Implied Fictional Narrator." Journal of Literary Theory 14, no. 1 (2020): 120–38. http://dx.doi.org/10.1515/jlt-2020-0007.

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AbstractThe role of the narrator in fiction has recently received renewed interest from scholars in philosophical aesthetics and narratology. Many of the contributions criticise how the term is used – both outside of narrative literature as well as within the field of fictional narrative literature. The central part of the attacks has been the ubiquity of fictional narrators, see e. g. Kania (2005), and pan-narrator theories have been dismissed, e. g. by Köppe and Stühring (2011). Yet, the fictional narrator has been a decisive tool within literary narratology for many years, in particular dur
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Ensslin, Astrid. "‘I want to say I may have seen my son die this morning’: Unintentional unreliable narration in digital fiction." Language and Literature: International Journal of Stylistics 21, no. 2 (2012): 136–49. http://dx.doi.org/10.1177/0963947011435859.

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This article offers comparative close readings of two digital fictions that feature various types and degrees of unintentional unreliable narration. Its prime focus lies on the affordances and restraints provided by hypertextual, multilinear, multimodal, interactive and ludic new media with respect to the aesthetic representation and textual embedding of unreliability. To this end, I have chosen narratives from two ‘generations’ of digital fiction – a hyperfiction par excellence, and a hypermedia narrative, both of which are multilinear by definition yet deal with the ideas of closure and narr
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Billingham, Jimmy. "Film-thinking and narrative indeterminacy." Alphaville: Journal of Film and Screen Media, no. 4 (December 21, 2012): 68–82. http://dx.doi.org/10.33178/alpha.4.05.

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This article elaborates on Daniel Frampton’s concept of “film-thinking” to propose a novel conception of the status of the narrative event presented in film, providing an alternative to previous conceptions of narration and agency in film. More specifically, the article develop Frampton’s idea that the moving images of film manifest a particular and unique mode of “thought,” with the agent of this thought immanent within the images that it “thinks.” Frampton terms this agent a “filmind” and regards it as transsubjective, it is not an objective perspective, outside the world of the film, nor a
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