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Journal articles on the topic 'Unreliable narrators'

Author: Grafiati

Published: 4 June 2021

Last updated: 25 July 2025

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1

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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2

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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3

ORUÇ, Sinem. "Narrative Cracks: Reconsidering Intentionality in Unreliable Narration in The Remains of the Day and The Moonstone." Cankaya University Journal of Humanities and Social Sciences, Special Issue: Wilkie Collins (January 28, 2024): 42–56. http://dx.doi.org/10.47777/cankujhss.1418446.

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Since Wayne Booth’s coinage of the term “unreliable narrator,” much critical ink has been spilled over the instances where the reliability of a narrator’s account is compromised, though without exploring the effects of the narrator’s intentional agency on unreliability. This study introduces the narratorial intent across the three levels of unreliable narration offered by Olson as a factor designating the disposition of a narrator and the gap between the implied reader and the narrator. With a rhetorical narratological approach that is in dialogue with cognitivist/constructivist approaches, th

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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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5

Boggs, Belle. "Unreliable Narrators." Ecotone 17, no. 1 (2021): 54–61. http://dx.doi.org/10.1353/ect.2021.0031.

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6

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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7

Arora, Gopika. "Unreliable Narrators: Agatha Christie’s ‘Murder of Roger Ackroyd’ and Other Examples." International Journal of English Literature and Social Sciences 10, no. 1 (2025): 059–61. https://doi.org/10.22161/ijels.101.6.

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This paper examines the literary concept of an unreliable narrator and how it is used to create suspense and tension in crime and thriller books. The report begins with an explanation of the term "unreliable narrator" and its origins before delving into the many varieties of unreliable narrators outlined by William Riggan in his book "Picaros, Mad Men, Nafs, and Clowns: The Unreliable First-person Narrator." The article then looks at Edgar Allan Poe's "The Tell-Tale Heart" and Agatha Christie's "The Murder of Roger Ackroyd'' as examples of how an unreliable narrator is used in literature, part

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8

Nikolina, Natalia Nikolaevna. "Types of unreliable narrators in English-language literature." Philology. Issues of Theory and Practice 16, no. 10 (2023): 3138–43. http://dx.doi.org/10.30853/phil20230488.

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The aim of the research is to identify the main types of unreliable narrators based on works written in English over the past 25 years for adults and adolescents. The paper analyses the theoretical and practical works devoted to studying the device of an unreliable narrator, gives its definitions and types. Based on this information, as well as the analysis of English-language literary works, the author identifies the types of unreliable narrators. The reasons for their unreliability may be the following: young age, mental problems, traumatic experience and unnatural origin. The scientific ori

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9

Sánchez-Verdejo Pérez, Francisco Javier. "Poe’s Unreliable Narrator." VERBEIA. Revista de Estudios Filológicos. Journal of English and Spanish Studies 6, no. 5 (2020): 128–50. http://dx.doi.org/10.57087/verbeia.2020.4137.

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An unreliable narrator (prisoner of madness, full of lies...) is one of the most powerful weapons an author can use. As we shall see, the effects multiply when that writer is Edgar Allan Poe. On the other hand, or in addition, if there is something that can delight more than reading Poe, that is teaching Poe. His narrators, those that appear in stories like "The Tell-Tale Heart" or "The Black Cat" offer a magnificent example for our project. Mentally unstable, despite their (intended?) intentions of reliability, these narrators often move away subjectively from the facts. That is why these sto

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10

Grossman, Jonathan H. "Imogen Binnie's Unreliable Narrators." TSQ 11, no. 3 (2024): 435–57. http://dx.doi.org/10.1215/23289252-11258476.

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Abstract This essay makes the case that Binnie has crafted an unreliable narrator in the 2012 short story “I Met a Girl Named Bat Who Met Jeffrey Palmer,” and it then extends that argument to her 2013 novel Nevada. The literary device of the unreliable narrator has long been, and continues to be, entangled with the status of bodies, racialized, colonized, sexualized, neurodiverse, gendered, age categorized, and so on. My contention is that Binnie ought to be recognized for the way she claims the fictional device of the unreliable narrator for a modern US trans context. As this essay contends,

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11

Thompson, Audrey. "Philosophers as Unreliable Narrators." Philosophy of Education 61 (2005): 60–68. http://dx.doi.org/10.47925/2005.060.

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12

Hartati, Khoirul Anam, Indal Abror та Ahmad ‘Ubaydi Hasbillah. "Beyond al-Jarḥ wa at-Ta‘dīl: A Critical Study of the Narrators Accused of Lying in Sunan Ibn Mājah". Jurnal Studi Ilmu-ilmu Al-Qur'an dan Hadis 26, № 1 (2025): 241–76. https://doi.org/10.14421/qh.v26i1.5736.

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Islamic scholars have endeavored to address the spread of unauthentic traditions transmitted by unreliable narrators. The science of al-Jarḥ wa al-Ta'dīl plays an important role in the study of hadith criticism as it helps determine whether the narrators are trustworthy or have a bad track record. In this context, Sunan Ibn Mājah has several narrators who have very bad reputations, and some of them are even known to have lied or fabricated traditions. This study investigates these narrators using the al-Jarḥ wa al-Ta'dīl approach. The sources of data are books on biographical dictionaries of n

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13

Smolenskaya, Mariya A. "The Difference of the External and Internal Point of View in the Text with an Unreliable Narrator (Based on the Material of I. Andreev’s Short Story Thought)." Sphere of culture 5, no. 1 (2024): 34–46. https://doi.org/10.48164/2713-301x_2024_15_34.

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L. Andreev’s short story Thought has a complex narrative organization. The author of the article proves that there are two narrators in the narrative– primary and secondary ones. The primary narrator introduces the reader to the circumstances of the crime and shows the final scene of the trial. The reliable primary narrator prefers to keep the narrative intrigue and stops the narrative reporting the equal split of jurors’ opinions. The secondary narrator Dr. Kerzhentsev, who has committed the crime, writes notes for forensic examination in which he appears as an unreliable narrator with altere

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14

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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15

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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16

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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17

Horton, Richard. "Offline: The danger of unreliable narrators." Lancet 397, no. 10271 (2021): 263. http://dx.doi.org/10.1016/s0140-6736(21)00148-3.

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18

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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19

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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20

Villar Flor, Carlos. "Unrealiable selves in an unreliable World : the multiple projections of the hero in Kazuo Ishiguro's "The Unconsoled"." Journal of English Studies 2 (May 29, 2000): 159. http://dx.doi.org/10.18172/jes.64.

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The Unconsoled (1995), Ishiguro's fourth novel, was received with some perplexity by critics who formerly praised the author's controlled "Jamesian" realism. However dissimilar this "Kafkaesque" novel may seem in comparison with the previous three, it can be regarded as a further step in the development of one of Ishiguro's major fictional interests: the way an unreliable first-person narrator introduces characters who might be understood as extensions or projections of himself. While Ishiguro's first three novels could be said to deploy unreliable narrators who try to revisit their past and o

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21

O'Connor, John S. "Seeking Truth in Fiction: Teaching Unreliable Narrators." English Journal 83, no. 2 (1994): 48. http://dx.doi.org/10.2307/821154.

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22

Richard Levin. "Gertrude’s Elusive Libido and Shakespeare’s Unreliable Narrators." SEL Studies in English Literature 1500-1900 48, no. 2 (2008): 305–26. http://dx.doi.org/10.1353/sel.0.0009.

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23

O’Connor, John S. "Seeking Truth in Fiction: Teaching Unreliable Narrators." English Journal 83, no. 2 (1994): 48–50. http://dx.doi.org/10.58680/ej19947655.

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24

Watson, Cate. "Unreliable narrators? ‘Inconsistency’ (and some inconstancy) in interviews." Qualitative Research 6, no. 3 (2006): 367–84. http://dx.doi.org/10.1177/1468794106065008.

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25

Del Moro, Renata. "Aproximações entre literatura e cinema: narradores não confiáveis de 'Dom Casmurro' e 'Anticristo'." Jangada: crítica | literatura | artes, no. 11 (November 13, 2018): 95–109. http://dx.doi.org/10.35921/jangada.v0i11.164.

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RESUMO: Este estudo visa à análise da utilização de um recurso literário no cinema: o narrador não confiável. A apropriação cinematográfica do narrador – elemento épico por excelência – engendrou algumas mudanças significativas desse recurso, haja vista as diferenças entre a sétima arte e a literatura, e as necessidades de adequação aos gêneros. No entanto, essa apropriação também manteve traços essenciais das diversas espécies de narrador tão estudadas na ficção escrita. Isto posto, propõe-se uma investigação do narrador não confiável no filme Anticristo, de Lars von Trier, à luz de um narrad

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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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McCarthy, Matthew W., and Daniel Marchalik. "The Great Gatsby and the challenge of unreliable narrators." Lancet 398, no. 10296 (2021): 203. http://dx.doi.org/10.1016/s0140-6736(21)01559-2.

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VUKIĆEVIĆ-GARIĆ, Vanja. "IN THE REFUGE OF ART: THE IRRESISTIBLE UNRELIABILITY OF NABOKOV’S NARRATORS." Lingua Montenegrina 6, no. 2 (2010): 411–29. https://doi.org/10.46584/lm.v6i2.193.

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The two novels by Vladimir Nabokov treated in this paper – Lolita(1955) and Pale Fire (1962) – are among most famous and most successfully shaped examples of the employment of the unreliable narrator in the 20thcentury fiction. The author exploits numerous contradictions of this complex and often controversial narrative strategy, pointing towards its esthetic, semantic and ethical potentials. Humbert Humbert and Charles Kinbote are seductive and multi-talented narrators-characters, whose imagination, verbal gift and irresistibly attractive rhetoric overshadow their moral and psychological flaw

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Schmalfeldt, Janet. "From Literary Fiction to Music: Schumann and the Unreliable Narrative." 19th-Century Music 43, no. 3 (2020): 170–93. http://dx.doi.org/10.1525/ncm.2020.43.3.170.

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The theoretic model of the “unreliable narrative” in fiction took flight in the early 1960s; it has since become a key concept in narratology, and an indispensable one. Simply put, first-person unreliable narrators are ones about whom we as readers, in collusion with the author, learn more than they know about themselves. Romantic precursors of modernist experiments in fiction—incipient cases of narrative unreliability—arise in the works of, among others, Jean Paul Richter and Heinrich Heine, two of Robert Schumann's favorite writers. In his early solo piano cycle, Papillons, op. 2, Schumann d

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Rovira-i-Gay, Gisela. "<b>NARRATORS IN MAGGIE O’FARRELL’S <i>THE VANISHING ACT OF ESME LENNOX</i>: BLURRING BOUNDARIES BETWEEN SANITY AND INSANITY</b>." RAUDEM. Revista de Estudios de las Mujeres 12 (December 21, 2024): 81–98. https://doi.org/10.25115/raudem.v12i1.9895.

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Maggie O’Farrell’s The Vanishing Act of Esme Lennox (2006) is a tale marked by madness. Insanity invades the novel’s plot, theme, structure, narrators and protagonists. An omniscient third-person narrator and an unreliable first-person narrator are in charge of telling the story, but they conceal and hide information, confuse readers and jeopardise the narration. This paper, thus, analyses how O’Farrell represents madness textually through the works of Booth (1961), Felman (1985), Fischer (2024), Fludernik (2009), and Gilbert and Gubar (1979). I argue that, in order to understand Esme and Kitt

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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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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&rsquo;s norms. The concept of Booth&rsquo;s term &lsquo;unreliable narrator&rsquo; has been a subject

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Priyavrat, Hansmita. "A Study of Unreliable Narrators In Akutagawa's in a Grove." Motifs : An International Journal of English Studies 5, no. 1 (2019): 14. http://dx.doi.org/10.5958/2454-1753.2019.00003.5.

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Kim, Younghee. "Flaubert’s Parrot by Julian Barnes: Unreliable Narrators and Critical Reading." British and American Language and Literature Association of Korea, no. 138 (September 30, 2020): 1–18. http://dx.doi.org/10.21297/ballak.2020.138.1.

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Kowalik, Wiktoria. "Nieznajoma z North Carthage. Dwuznaczne narracje Gillian Flynn w powieści "Zaginiona dziewczyna"." Jednak Książki. Gdańskie Czasopismo Humanistyczne, no. 17 (November 26, 2023): 132–47. https://doi.org/10.26881/jk.2023.17.08.

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This article analyzes the use of narration in Gillian Flynn's Gone Girl. The author employs the „missing white woman syndrome” and unreliable narrators to manipulate readers' perceptions and expectations.

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Smith, Michael W. "Effects of Direct Instruction on Ninth Graders' Understanding of Unreliable Narrators." Journal of Educational Research 85, no. 6 (1992): 339–47. http://dx.doi.org/10.1080/00220671.1992.9941136.

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37

sulu, Cai. "Unreliable Narration in The Ponder Heart." International Journal of Arts, Humanities & Social Science 06, no. 02 (2025): 66–70. https://doi.org/10.56734/ijahss.v6n2a7.

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This essay explores the unreliable narration in Eudora Welty’s The Ponder Heart, focusing on how she employs unreliable narration to create ironic effects. The essay delves into the three axes of unreliability proposed by James Phelan, discussing how Welty artfully conspires with readers to create irony by revealing the complexity and contradictoriness of her narrators. Through a multilayer analysis, the essay presents a clearer picture of the story world and the mindstyles of the characters, highlighting the distortion of human nature and alienation between human beings. Welty's use of unreli

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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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Veshchykova, Olena. "The asymmetry of memory and memories in fiction: narratological aspect." Synopsis: Text Context Media 28, no. 2 (2022): 46–53. http://dx.doi.org/10.28925/2311-259x.2022.2.1.

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The relevance of the article lies in the theoretical generalization of philosophical, aesthetic, and narratological approaches to the explication of the phenomenon of a narrator’s and a character’s individual memory, namely the interaction of memorization, forgetting, and memories as necessary components of an entire cognitive process. The subject of the research is the asymmetry of memory and memories in the homodiegetic narrative. The methodology of analysis is based on the works of A. Assman, Aristotle, M. Bal, Ya. Bystrov, A. Erll, B. Neumann, A. Nünning, W. Randall, and other scholars, po

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40

Hnatkovska, Olena. "The Syntax of Unreliable Narrators’ I-Utterances in ‘Gone Girl’ by G. Flynn." Linguaculture 9, no. 1 (2018): 69–83. http://dx.doi.org/10.47743/lincu-2018-1-0114.

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Unreliable narration research raises the problem of truthful information presented in fiction, which is for the most part made up. However, the truth in the fictional world is what the reader believes to be true. Therefore, deliberate deluding or confusing the reader by an untrustworthy character creates an additional fictional layer consisting of false facts. This represents the contradiction between the imaginary and the fake, the latter being untrue in terms of fiction. The paper examines how the author of the best-selling novel Gone Girl realizes her intention of deceiving or misleading th

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Friedrich, Kathrin. "Parzival auf dem Zauberberg?" Amsterdamer Beiträge zur älteren Germanistik 79, no. 3 (2019): 410–31. http://dx.doi.org/10.1163/18756719-12340160.

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Abstract Medieval German literature had a deeper impact on Thomas Mann than is typically assumed. The comparison between Wolfram’s von Eschenbach Parzival and Thomas Mann’s The Magic Mountain illustrates this influence. Nearly 700 years separate both novels, nevertheless, they show amazing parallels. Especially as their narrators are very much alike. Both appear exposed in their stories, utilise Wolfram’s Bogengleichnis, and are unreliable. In addition, they both reflect on their narrations as literary constructs. While Wolfram’s narrator defends his protagonist Parzival for his misdeeds Mann

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Sorolla-Romero, Teresa, José Antonio Palao-Errando, and Javier Marzal-Felici. "Unreliable Narrators for Troubled Times: The Menacing “Digitalisation of Subjectivity” in Black Mirror." Quarterly Review of Film and Video 38, no. 2 (2020): 147–69. http://dx.doi.org/10.1080/10509208.2020.1764322.

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Lalmalsawmtluanga, Lalmalsawmtluanga, and Dr Rafat Khanam. "Edgar Allan Poe and the Gothic Triad: Supernatural, Obsession and Death." International Journal of English Literature and Social Sciences 10, no. 3 (2025): 118–22. https://doi.org/10.22161/ijels.103.20.

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Edgar Allan Poe’s Gothic literature masterfully intertwines supernatural horror, psychological obsession, and death. His works, featuring unreliable narrators, eerie atmospheres, and macabre themes, redefine the genre. His significant influence is also shown, and his contribution to Gothic literature is mentioned. This study explores Poe’s unique contributions, examining how his narratives of madness, guilt, and mortality continue to shape Gothic fiction and modern horror storytelling.

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Machała, Katarzyna. ""That's not how we hang people here" : Gilead in the eyes of witnesses in Margaret Atwood's The Handmaid's Tale and The Testaments." Brno studies in English, no. 1 (2022): 187–200. http://dx.doi.org/10.5817/bse2022-1-11.

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Witness and testimonial literature have gained special significance in the 20th century in response to the traumas that people experienced then. Two dystopian novels by Margaret Atwood, The Handmaid's Tale and The Testaments, are also classified as such, even though they are set in the fictitious Republic of Gilead in the near future. In both cases, the story is told by a first-person narrator, unreliable by default, but still able to bear witness to the events. In the first novel, the narrator is trapped by the circumstances, but still looking back to the pre-Gilead times. Her tale is her mea

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Richardson, Brian. "Point of View in Drama: Diegetic Monologue, Unreliable Narrators, and the Author's Voice on Stage." Comparative Drama 22, no. 3 (1988): 193–214. http://dx.doi.org/10.1353/cdr.1988.0017.

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Álvarez-Amorós, José A. "Revisiting ‘Third-Person’ Narrative Unreliability." Poetica 52, no. 3-4 (2021): 361–86. http://dx.doi.org/10.30965/25890530-05201015.

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Abstract Taking its cue from the critical treatment given to unreliable narration by Wayne C. Booth and his early followers, and in contrast to the claims often made in the field of authentication theory, this paper seeks to join the debate on “third-person” narrative unreliability by outlining an inclusive approach to this phenomenon in which the “person” parameter need not be a determining factor. To theorize and illustrate this approach, a methodological context is first developed by juxtaposing Genette’s revisionist stance on voice and perception with Booth’s 1961 dismissal of the vocal is

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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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Petraschka, Thomas. "Warum die Aussage »Text T ist unzuverlässig erzählt« nicht immer interpretationsabhängig ist. Zwei Argumente." Journal of Literary Theory 12, no. 1 (2018): 113–26. http://dx.doi.org/10.1515/jlt-2018-0007.

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Abstract This essay asks whether the attribution of unreliability to the narrator of a literary text is always dependent upon interpretation. The bulk of narratological research answers with »yes«. Yet the content of the term »interpretation-dependent« is understood in radically different ways. As a minimal consensus, it is commonly accepted that the attribution of unreliability cannot be described as »interpretation-neutral«, in the way that, for instance, the statement »The narrator in text T is a homodiegetic narrator« is interpretation-neutral. Following a few preliminary explanatory remar

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Rizaka, Maghza. "A Takhrīj Study of The Hadith Al-Thaqalayn in Sunan Al-Tirmidhī." Jurnal Indonesia Sosial Teknologi 5, no. 4 (2024): 1723–36. http://dx.doi.org/10.59141/jist.v5i4.1030.

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Al-Thaqalayn, an Islamic term denoting the Quran and the Ahl al-Bayt, is a fundamental resource for comprehending Islamic teachings and teachings. Extensive research has been devoted to Hadiths that pertain to al-Thaqalayn within the Islamic tradition. This article presents an analysis of the Hadith of al-Thaqalayn, focusing on examining and validating the Sanad and Matan traditions associated with al-Thaqalayn to determine their authenticity and reliability. The takhrij technique entails scrutinizing the text of Hadith al-Thaqalayn by focusing on the passages that are infrequently employed. T

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Hembrough, Tara. "From an Obscured Gaze to a Seeing Eye? Iris as Victim, Villain, and Avenger in the Role of Writer-as-Assassin in Margaret Atwood’s The Blind Assassin." SAGE Open 7, no. 1 (2017): 215824401668893. http://dx.doi.org/10.1177/2158244016688933.

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In the postmodern period, first-person-limited, unreliable, female narrators may have a greater difficulty in “seeing” and, thus, depicting their landscapes than previous eras’ storytellers. Iris (Chase) Griffen, narrator-protagonist of Margaret Atwood’s The Blind Assassin, spins a complicated, self-reflective text exploring her attempts at composing a world vision that consumes the novel’s larger part. Iris’s search for answers about her identity as well as that of other characters may leave readers in the lurch, waiting for their “story,” in Ross Chambers’s terms, as an agreed-upon product.

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