Unreliable Narrator

La propriété intellectuelle, en tant que fruit de la créativité humaine, est protégée par la loi au moyen du droit d’auteur et de la marque, à condition qu’elle possède un niveau suffisant d’originalité et qu’elle soit exprimée de manière concrète et perceptible.

Dans Lire Houellebecq, Raphaël Baroni analyse les mécanismes qui influencent les jugements des lecteurs sur les textes narratifs, en se concentrant sur la réception des romans de Michel Houellebecq. S’appuyant sur les travaux de Liesbeth Korthals Altes et Jérôme Meizoz, il montre comment la posture publique de l’auteur influe sur l’interprétation de son œuvre. L’ambiguïté de l’énonciation et les thématiques controversées de Houellebecq brouillent les frontières entre fiction et réalité, suscitant des vastes débats. L’étude explore également la présence transmédiale de l’auteur et met en lumière une mutation dans la réception littéraire, où contexte et contenu thématique jouent un rôle clé dans la lisibilité d’un texte. Raphaël Baroni souligne ainsi que, loin d’être « mort », l’auteur n’a jamais été aussi vivant dans le débat littéraire contemporain.

Plot twists have long become a mainstream mainstay, losing much of their ability to truly surprise audiences. A prevalent tendency in plot-twist films is to pit diegetic reality against protagonists' subjective perspective as affected by a mental illness, connecting neurodiversity with (narrative) unreliability. This essay offers three alternative readings of this conventionalized type of twist films with a neuro-non-normative protagonist: as mediations of the fictional unconscious, as mediations of viewers' unconscious, and as remediations of the role of mental illness. Drawing on cognitive film theory, the essay illustrates these readings using Joe Wright's The Woman in the Window (2018), whose surprising twist is that the protagonist does not have a mental illness. Subverting the convention of the unreliable, neuro-non-normative narrator, the essay argues that the film invites viewers to reflect on and question their own involvement in the (re)construction of narrative unreliability.

, contemporary British and North American Literature, Digital literature and culture, and Translation Studies. She has investigated works from a variety of media, with particular attention to the interaction between the New Technologies and fiction both in digital and in book form. She has been a lecturer of English as L2, English and Italian translation, CLIL methodology, ESP for over 10 years both at under-and post-graduate level. For 3 years she has been holding an Academic Writing course addressed to PhD students as well. This variety of courses and audiences has allowed her to experiment teaching approaches and methodologies (elearning, blended learning, flipped classes). Since late 2017, Laura Santini is Research Fellow (RTDa) at the Modern Languages and Cultures Department (University of Genoa) where she has joined three interdisciplinary research groups: ARGEC (Atelier de recherche Génois sur les écritures contemporaines), devoted to contemporary writing and to inter-, trans-and multimedia narratives ("The New Technologies and the Novel: Re-Coding Narrative in Book Form" forthcoming in Recherches sémiotiques/Semiotic Inquiry); PRA 2014 ("I confini delle città tra Modernità e Postmodernità") revolving around literature and the city, ("Mappe ʽaperteʼ nella narrativa speculativa di Douglas Coupland: dal centro al margine, dal dove al come, dall'io al noi", in Publif@rum 28, 2017); and since January 2018, CIRM, an interlinguistic research group working on Metaphors. Recently, she has also joined CIRAM -Centro Interdipartimentale di Ricerca sulle Americhe. 1 The unusual spelling of epistolarity, i.e. e-pistolarity with a hyphen, is intentionally meant to narrow the focus of this work to those printed novels that rely only on the new means of communications and technologies so that e-pistles are never letters as traditionally conceived, namely paper-based exchanges, but only correspondences carried out through digital or electronic devices and anyway via the internet connection. 2 See previous note as the word e-text(s) points to those text typologies through which the e-pistolary novels are compiled as it is discussed in the following paragraph. 3 Online social media (OSM) ̶ do not feature but for Twitter ̶ neither do most recent apps, such as Telegram or WhatsApp, as they were not yet available, not as widespread as they are now or they simply did not attract authors' interest.

Este vídeoensayo analiza la narración no fiable de uno de los largometrajes más relevantes de la filmografía de Sofia Coppola. Se plantea cómo la película está sustentada en una discordancia entre la voz narrativa que cuenta la historia y los niveles de representación con que se edifica el universo diegético: puesta en escena, puesta en cuadro y puesta en serie. Como resultado de esa discordancia, surgen cuatro vectores semánticos mediante los que el meganarrador, artífice del universo diegético, socava la autoridad del narrador delegado: estereotipación, ironía, incomunicación y decadencia.

Erhan Bener’in Tekilleşme (1990) romanı, 12 Eylül sonrasının siyasal şiddet atmosferini arka
planda tutarak, başkişisi Medeni Bey’in zihinsel ve varoluşsal çözülüşünü odağa alır.
Romanda, oto-anlatıcı Medeni Bey, iç anlatıcı konumundaki asistan doktor Çiğdem ve sınırlı
işlevli dış anlatıcı olmak üzere üç anlatıcı sesi vardır. Bu anlatıcılar arasında bilgiye erişim
açısından belirgin farklar bulunur. Medeni Bey’in anlatısı hem yapısal hem söylemsel düzeyde
güvenilmezlik işaretleri taşır; olayların sıralanmaması, hatırlanan ile hayal edilenin iç içe
geçmesi ve zaman atlamaları gibi biçimsel tercihler bu güvensizliği besler. Anlatıcının
otobiyografik anlatımı ile dış-dünya verileri arasındaki çelişkiler nedeniyle parçalı bir yapı
teşkil eden roman, metin içi işaretlerin yönlendirmesiyle parçaların birleştirilerek anlatının
bütüncül bir yapı kazanmasına olanak tanır.
Romandaki “tekilleşme” kavramı yalnızca tematik bir izleğe değil, anlatının örgütlenme
biçimine de içkindir. Çiğdem’in anlatısı, Medeni Bey’in dağınık zihinsel yapısına tanıklık
ederken kendisini sorgulamaya varan bir perspektif sunar. Dış anlatıcı ise çoğu zaman
yönlendirici olmayan ancak algıyı biçimlendiren bir ses üretir. Böylece roman, yalnızca
bireysel bir çözülüşün değil, çok katmanlı ve güvenilmez bir anlatının da temsiline dönüşür.
Bu çalışma, Tekilleşme’yi anlatıbilimsel kuramlar çerçevesinde inceleyerek, parçalı anlatı yapısı
ile anlatıcı güvenilirliği arasındaki ilişkiyi ortaya koymaya çalışmaktadır. Çalışmada, özellikle
Gérard Genette’in anlatı düzeyleri ve odaklanma modelinden, Ansgar Nünning’in ise
“güvenilmez anlatıcı” kuramından yararlanılmaktadır.
Anahtar kelimeler: Anlatıbilim, Güvenilmez Anlatıcı, Anlatı düzeyleri, Parçalı anlatı yapısı,
Tekilleşme.

Güvenilmez anlatı, anlatıbilimde eksik ya da yanlış anlatımdan veya yanlış yorumlamaktan kaynaklanan bir metinsel tutarsızlık problemi olarak karşımıza çıkmaktadır. Edebi anlatıda yalnızca metin içi unsurlardan tespit edilen bu kusur, gerçek olayları anlatan metinlerde metin dışı unsurların da dikkate alınmasıyla tespit edilebilmektedir. Hadisler söz konusu olduğunda cerḥ ve taʿdīl ulemasının sıḥḥat hükümlerinde isnadın yanı sıra metinle ilgili değerlendirmeler yaptığı bilinmektedir. Buna rağmen kimi rivayetlerde metin içi tutarsızlık ve diğer hadis metinleri ile çelişkiler görülebilmektedir. Bu makalede incelediğimiz Ṣaḥīḥu’l-Buḫārī rivayetinin son kısmında metin içi ve metinler arası bazı çelişkiler tespit edilmiştir. Sahabi ravi ʿİmrān b. Ḥuṣayn’ın Hz. Peygamber ile birlikte bir seferde görgü şahidi olduğu olayları anlattığı hadisin son kısmında, şahit olmadığı olaylar yine onun diliyle anlatılmıştır. İlgili bölümde Hz. Peygamber’e su temin eden bedevi kadının kimliği ve obasına ...

Though distanced in time by centuries, Nabokov's Lolita and Chaucer's Miller's Tale are both structured around young and girlish figures, or fanciulle. Both authors, too, apply three layers of male narration to their female protagonists, inviting the reader-critic into their worlds first as a voyeur tempted by sexual stimulus and distancing him/her from the fanciulle. However, as the reader continues, s/he must work detectively to uncover the young female figure, discovering along the way her depth of character, as expressed through ribaldry, rebellion, and the only true language with which she knows how to express herself successfully -her sexuality. The detective reader is ultimately rewarded with the discovery of Lo and Alisoun's complexity, and of an awareness of the function of such figures in the Western imagination.

Postmodern literary criticism has long provoked extensive debate and contestation. In this reflection, I wish to concentrate on a particular narratological concern: the concept of the unreliable narrator. An unreliable narrator is one whom the reader-more precisely, the postmodern critic-refuses to trust. The critic interrogates the narrator's fidelity to the events recounted, asserting that the narrator's subjectivity distorts the account and results in a flawed or biased interpretation of events. In postmodern literary discourse, the first-person narrator is frequently designated as unreliable, primarily due to concerns regarding inherent subjectivity and the presumed impossibility of objectivity within narrative voice. In addressing the notion of unreliable narrator, I will refrain from delving into the works of prominent postmodernists, and instead turn to modernist authors. However, before proceeding, it is imperative to acknowledge the invaluable contributions of the University of Chicago, which has housed a formidable school of literary criticism. I have frequently drawn upon their scholarship, and one particular figure I need to emphasize is Wayne C. Booth, a distinguished critic and literary theorist. Booth distinguishes between reliable and unreliable narrators by examining whether the narrator's discourse aligns with or diverges from the prevailing norms and values embedded within the text. As he explains: "For lack of better terms, I have called a narrator reliable when he speaks for or acts in accordance with the norms of the work (which is to say, the implied author's norms), unreliable when he does not. It is true that most of the great reliable narrators indulge in large amounts of incidental irony, and they are thus 'unreliable' in the sense of being potentially deceptive. But difficult irony is not sufficient to make a narrator unreliable. Nor is unreliability ordinarily a matter of lying, although deliberately deceptive narrators have been a major resource of some modern novelists…"-Wayne C. Booth, The Rhetoric of Fiction (University of Chicago Press, p. 159) According to Wayne C. Booth, the concept of unreliability is fundamentally linked to the degree to which a narrator conforms to the artistic or literary truth established within the narrative framework. The critic emphasizes that an unreliable narrator is not merely one who fails to convey factual accuracy-since fiction, by its

In today's pluralistic society the old cultural monolithic myths have waned to give way for personal myths to form an individual's sense of the world. Personal mythologies, according to psychologist Stanley Krippner, perform the function of explaining, confirming, guiding, and sacralizing experience for the individual in a manner analogous to the way cultural myths once served those functions for an entire society (Krippner,1990: 139). Individuals create stories about their lives, often distorting or idealizing the past to fit their current understanding of themselves and the world highlighting the subjective nature of memory and the human tendency to mythologize their own experiences, sometimes to protect themselves from painful truths or to maintain a sense of coherence in their lives. In Julian Barnes's Booker Prize winning novel The Sense of an Ending (2011) the protagonist, Tony Webster, grapples with the fallibility of memory and the selective nature of personal storytelling, realizing that his own memories have been shaped and reshaped over time, creating a kind of personal mythology to shield himself from tragic truths. The paper aims to analyse how a psychotherapeutic act of writing a memoir works effectively to realise and then replace his self-deluding personal myth with a countermyth rooted in the collective unconscious to make an actual sense of reality.

Leeladhar Mandloi’s "Jab Se Aankh Khuli Hain" is a profound Hindi autobiography that navigates the complexities of recalling and articulating childhood memories, as explored through William C. Spengemann’s framework of autobiography as a literary genre. Spengemann categorizes autobiography into historical, philosophical, and poetic forms, positing that all literature contains autobiographical elements, though excessive authorial projection risks diluting the genre’s essence. Mandloi grapples with the challenge of grounding memories in reality, resisting imaginative distortion, and opts for a poetic yet truthful narrative over an autobiographical novel to preserve authenticity. Spanning sixty-five chapters, the work chronicles Mandloi’s journey from an impoverished childhood to financial stability, vividly capturing the struggles of marginalized communities with aesthetic sensibility. His prose, infused with poetic nuance, reflects Muktibodh’s view that beauty emerges from creative imagination rooted in lived experience, tying beauty to truth. Mandloi’s narrative employs Bakhtin’s concept of polyphony, weaving multiple voices and perspectives to create a dialogic portrayal of reality, distinct from monolithic authorial dominance. The autobiography highlights sensory experiences, such as the sounds of labor tools and his mother’s lullabies, and critiques neoliberalism’s erosion of traditional life. Despite its richness, the work’s notable limitation is Mandloi’s reluctance to reveal personal flaws, a trait common in timeless autobiographies like those of Augustine and Gandhi. Nonetheless, 'Jab Se Aankh Khuli Hain' stands as a significant contribution to Hindi literature, distinguished by its linguistic depth, structural complexity, and authentic representation of subaltern experiences.

This paper reads the autodiegetic narrator Sammy Mountjoy's retrospective and self-reflexive writing in William Golding's Free Fall (1959) as an absurd quest. Therefore, it centres itself on the concepts of free will and darkness, associating Sammy Mountjoy's darkness with the absurdity and darkness of the 20 th century, in which the implied author wrote his work. What make this deduction possible are three components of the narrative: its binaristic nature, self-reflexivity and the repeating narratives. When construed through the concept the absurd, these elements allow demonstrating the implied author William Golding's design to represent the absurd world through Sammy Mountjoy's quest. Therefore, this paper firstly focuses on examining the narrative's binaristic nature, narrative selfreflexivity, and repeating narratives in order to study the narrator's desire for a pattern and his self-questioning as a reflection of the implied author's design to convey the absurd man's situation in the twentieth century world. After this discussion, it pays attention to the clash between two specific binaries of spiritualism-rationalism and innocence-experience, in terms of the concept of darkness, and attempts to observe how they lead to a bonding unreliability, which paves way to a bonding communication between the implied author and his authorial audience. Considering the fact that Sammy Mountjoy follows a subjective pattern of events and accounts in his absurdist quest, this paper aims to conduct its rhetorical narratological analysis in the light of the narrator's casual-temporal order in order to build a bridge between the narrator's choices and the implied author William Golding's design.

This contribution explores the potential of the medium "manga" for the GFL classroom. The main focus is on visual literacy as a part of aesthetic learning in the Fine Arts and on how reading novices in particular can benefit from this form of literacy by means of typical manga characteristics. After presenting necessary subject-specific concepts, the contribution provides some lesson suggestions showcasing the approach to visual literacy through the use of manga in the GFL classroom. The contribution concludes with some additional examples which have particular potential for advanced learners and cultural learning due to their storyline.

Der Film als Medium, dessen Bilder starke Referenz auf die ‚Realität' nahelegen, hat multimodale Möglichkeiten, mit erzählerischer Unzuverlässigkeit zu spielen. Im Fokus des Beitrags liegt die mimetische Unzuverlässigkeit, bei der die Filmbilder nicht der diegetischen Wirklichkeit entsprechen. In den Jugendfilmen Brücke nach Terabithia und Sieben Minuten nach Mitternacht werden die Imaginationen der Protagonist:innen ins Bild gebracht und dadurch ein Vexierspiel mit der ontologischen Wirklichkeit angestellt, wobei die auditive Ebene dieses Spiel unterstützt. Für die schulische Filmanalyse eignen die Filme sich besonders dadurch, dass die Unzuverlässigkeit durch den Einsatz unterschiedlicher filmsprachlicher Mittel erreicht wird, die so besondere Aufmerksamkeit einfordern. Obwohl narratologische Kategorien wie unzuverlässiges Erzählen nicht selbstzweckhaft behandelt werden sollten, bieten beide Filme eine gute Möglichkeit, diese Kategorie in das Zentrum der Auseinandersetzung zu stellen, da die filmische Unzuverlässigkeit intensiv mit der Inhaltsebene verflochten ist. Die Protagonist:innen lösen durch ihre Imaginationsleistungen innere und äußere Konflikte und die Schüler:innen erhalten eine Gelegenheit, sich mit grundsätzlichen Leistungen von Erzählungen und ihrem Konstruktionscharakter auseinanderzusetzen.

In the multicultural crossfire of diasporic narratives stemming from Indian soil, Salman Rushdie retains his position as one of the most, if not the only, contentiously displaced figures. Rushdie’s exile is a rather perplexing phenomenon, an identity so disfigured that to reclaim it is impossible. Like an elastic band never returning to its former dimensions after being stretched, Rushdie’s identity is pulled in directions marked by opposing continents, enemy states, language families, conflicting religions, and the abrogated people. This paper seeks to identify the site of Postcoloniality in his works, a diasporic anxiety laced with magic and fantasy to create a utopia, a land devoid of borders, cultural and linguistic polarity, and an atmosphere of ambivalence toward the citizen of nowhere and everywhere, much like Rushdie himself. From the seminal texts of celebrated theorists in the Diaspora, such as Bhabha, Mishra, Rajendra Singh, Stuart Hall, and Vassanji, this study would examine the Rushdian world of identity, dislocation, his notion of a home, and other general attributes of his postcolonial and diasporic renderings.

Following the Supreme Court’s recent overturn of Rowe v Wade, Margaret Atwood’s book The Handmaid’s Tale has understandably become the face of activism for reproductive rights.

Bearing this work's use as a protest symbol for reproductive rights in mind, it’s easy to overlook the significance that Gilead’s prohibition of women to read plays in establishing and maintaining its totalitarian control.

This piece brings Gilead's prohibition of women to read to the fore,, drawing relevant parallels to the current surge of book banning we're experiencing in the U.S.

Our contribution explores the audio-visual representations of narrative silence and ambiguity in films adapted from novels characterised by their unreliable narrator. Based on a number of conceptual paradigms – among which are studies on multimodality (Kress & van Leeuwen, 2001; Weissbrod & Kohn, 2019) and adaptation (Bassnett, 2001; Hutcheon &  O'Flynn, 2013) – the investigation qualitatively compared three films adapted from novels with unreliable narrators: Mark Romanek’s (2010) Never Let Me Go, after Kazuo Ishiguro’s 2005 dystopian novel; Roger Michell’s (2017) My Cousin Rachel, after Daphne du Maurier’s 1951 novel; and Lenny Abrahamson’s (2018) The Little Stranger, after Sarah Waters’ 2009 novel – all bearing the same titles. Using the films mentioned above, the paper links cinematic and literary unreliability, identifying and classifying the devices used to represent unreliability in an audiovisual context, while comparing this new typology of cinematic unreliability devices to the original novels.

מחקר זה בוחן את הייצוגים האודיו-ויזואליים של עמימות ושתיקה נרטיבית בעיבודים לקולנוע של רומנים המסופרים בקולו של מספר בלתי מהימן. בהסתמך על מספר פרדיגמות תיאורטיות, ובהן מחקרים בנושא מולטי-מודליות (Kress & van Leeuwen, 2001; Weissbrod & Kohn, 2019 וחקר האדפטציה (Bassnett, 2001; Hutcheon &  O'Flynn, 2013), נערכת השוואה איכותנית של שלושה עיבודים לקולנוע לרומנים הכותבים בקולו של מספר בלתי מהימן: סרטו של מארק רומנק (2010) ״לעולם אל תיתן ללכת״ – עיבוד של הרומן הדיסטופי של קזואו אישיגורו (2005), סרטו של רוג׳ר מיצ׳ל (2017) ״דודנית רחל״– עיבוד של הרומן המפורסם של דפנה דה מוריה (1951) והעיבוד של לני אברהמסון (2018) ל״זר הקטן״ מאת שרה ווטרס (2019). באמצעות זיהוי ומיון של האמצעים האודיו-ויזואליים לייצוג התופעה בשלושת הסרטים האמורים והשוואתם לרומנים המקוריים, המאמר קושר בין תופעת המספר הבלתי מהימן בקולנוע ובספרות.

ABSTRACT:
The present study explores the film adaptations of three British novels characterised by unreliable narration, in order to determine to what extent and via which tools this narrative strategy is maintained in intersemiotic translation. The corpus consists of Kazuo Ishiguro’s Never Let Me Go, Sarah Waters’ The Little Stranger, and Daphné du Maurier’s My Cousin Rachel, and their respective adaptations. Results show that the narrator’s unreliability is maintained on screen through six main techniques: verbal habits, voiceover, framing of the narrative, visual effects, soundtrack,  and camera perspective. The analysis further shows that these techniques used to stage narrative unreliability only partially overlap with those used in literature.

RESUMEN:
O presente estudo explora as adaptações cinematográficas de três romances britânicos caracterizados por uma narração não confiável, a fim de determinar em que medida e por meio de quais ferramentas essa estratégia narrativa é mantida na tradução intersemiótica. O corpus consiste em Never Let Me Go, de Kazuo Ishiguro, The Little Stranger, de Sarah Waters, e My Cousin Rachel, de Daphné du Maurier, e suas respectivas adaptações. Os resultados mostram que a falta de confiabilidade do narrador é mantida na tela por meio de seis técnicas principais: hábitos verbais, narração, enquadramento da narrativa, efeitos visuais, trilha sonora e perspectiva da câmera. A análise mostra ainda que estas técnicas que encenam a falta de fiabilidade narrativa se sobrepõem apenas parcialmente às utilizadas na literatura.

PALAVRAS-CHAVE
Estudos de tradução. Tradução intersemiótica. Adaptação. Narração não confiável. Estudos de narração.

Seit mehreren Jahrzehnten setzt sich die Literaturdidaktik mit der Frage auseinander, welchen Platz und Stellenwert ästhetische Erfahrung und ästhetische Bildung im Deutschunterricht haben sollten. Mit dem Paradigmenwechsel hin zur Kompetenzorientierung erhält diese Frage zusätzliche Brisanz, da die Ziele ästhetischer Bildung – wie z. B. die Sensibilisierung von Wahrnehmung, die Anregung von Imaginationsbildung oder die Förderung von Genussfähigkeit – nicht standardisierbar oder überprüfbar sind. Zu einer weiteren Marginalisierung ästhetischer Bildung im Deutschunterricht hat beigetragen, dass sich die im lese- und literaturdidaktischen Diskurs seit langem bestehende Opposition zwischen subjektiv-ästhetischem Verstehen von literarischen Texten und kognitiv-informationsorientiertem Sachtextlesen in den vergangenen Jahren weiter verstärkt hat. Diesem Themenheft liegt ein Konzept von Ästhetik zugrunde, das den Wandel dieses Begriffs seit Mitte des 20. Jahrhunderts mitreflektiert. Schlagworte wie „Ästhetisierung des Alltags“ oder „Medienästhetiken im digitalen Wandel“ verweisen darauf, dass ein zeitgemäßer Ästhetikbegriff nicht mehr die Werkästhetik mit dem kanonisierten Kunstwerk und dessen Schöpfer:in, sondern die ästhetische Erfahrung und das ästhetische Erleben ins Zentrum setzt. Die Heftbeiträge zeigen auf, welche Räume sich im Deutschunterricht hierfür nicht nur im Rahmen der Rezeption (Lesen, Sehen, Hören, Interagieren) von (multimodalen) Texten, sondern auch der Produktion (Spielen, Inszenieren, Gestalten) und der Kommunikation (Sprechen, Zuhören) eröffnen.

subject's entry into language and catalogues the subject's desire to create a self through the mastery of language and critically, through recognition by the Other. The thesis is informed particularly by the work in linguistics of Benveniste. 19. Emile Benveniste, Problernes de linquistique qdndrale, (Paris, 1966). References appear after quotations in the text.

Bakhtin asserted that Dostoevsky’s most direct link to varieties of ancient Menippea was Christian literature,such as the Gospels or the Apocalypse. However, Bakhtin does not elaborate upon the Menippean aspects of these works which could have served as templates for Dostoevsky’s own. Whereas Bakhtin believed that, “The Menippean forms are based on man’s inability to know and contain his fate,” the case of the Pharisees in the Gospels was a bit more complex. The serio-comedy of the Pharisees was created by the ability of the God-man to know and contain their fate. In the end, what Bakhtin termed the “reduced laughter” of Stepan Trofimovich’s case comes from the same source. This paper examines Stepan Trofimovich as the embodiment of the Menippean elements of Jesus’ interactions with the Pharisees in the Gospels, focusing specifically on the journey of Stepan Trofimovich’s idea as it is introduced in “Instead of
an Introduction” to its ultimate defeat in his “last peregrination.” Five specific aspects of the Menippea as defined by Bakhtin are employed in the analysis: 1) the absence of epic or tragic distance, with the subject
presented on the plane of the present day, 2) the bold and unrestrained use of the fantastic and adventure devoted to a purely ideational and philosophical end, 3) insanity of all sorts, 4) no abstractly philosophical
or religiously dogmatic resolution to ultimate questions, rather their embodiment in carnivalistic acts andimages, and 5) the creation of an extraordinary plot situation or a provocative anacrisis.

This paper analyses the theme of mutual female bonding of black women in Toni Morrison's novel Love (2003). Sisterhood might be a weapon against alienation experienced by black women created by various factors as racial, gender and class injustices. However, this female friendship of black women in Morrison suffers a serious setback and changes into an alienated relationship in the long run because of powerful temptations under the canopy of the patriarchal structure of marriage and class strata. While highlighting the healing power of female companionship which may allow women to survive in the face of challenges and injustices, this study brings forth an argument that this female friendship is ultimately damaged by explicit or implicit patriarchal forces working under the platform of social institutions of marriage and class. Through this failed female friendship, Morrison warns her female readers to be on guard against the omnipresent fatal patriarchal forces in operation against them.

Objective: This study explores the perceptions of elementary school teachers regarding the challenges and opportunities for promoting Islamic culture, with an emphasis on modesty and hijab, in the Iranian education system during the academic year 2023–2024.
Method: The study employed a qualitative phenomenological approach. Participants included all elementary school teachers in Yazd city, selected through criterion-based purposive sampling until data saturation was reached. Finally, A total of 15 teachers participated in the study. The participants were required to have at least three years of teaching experience in elementary schools and must be officially employed by the Yazd education department. Data were collected through semi-structured interviews and analyzed using Braun and Clarke’s thematic analysis method. To achieve credibility according to the ‘triangulation of data,’ techniques such as peer review, member checking, and researcherThe Trojan Horse Infantry: Gradual Infiltration of Liberal and Secular Thought into the Core of the Religious Community of Schools in Iran with an Emphasis on Modesty and Hijab self-reflection were utilized.
Results: The findings were categorized into two main domains: (A) Present Challenges with the Main Themes: (1) Positive and negative effects of the type of encounter and interaction; (2) contradictions between school teachers' and religious teachers' words and actions. (B) Factors of the Neglect towards Modesty and Hijab Culture with Main Themes:
(1) Society; (2) Poor management and insufficient governance in cyberspace; (3) Sexual and psychological factors; (4) Limited interaction between the education system and other institutions and organizations; (5) lack of awareness and knowledge; (6) Indifference among families; (7) Political and economic factors; (8) The infiltration of liberal and secular ideologies into the religious community of schools.
Conclusion: Promoting the culture of modesty and hijab and explaining its various dimensions can shield society from these destructive challenges. The Jihad of Explaining hijab and raising people’s awareness of hijab requires collaboration and synergy across all organizations and institutions, particularly the education system, with schools and teachers playing a central role.

This paper examines how the protagonist of Julian Barnes's novel The Sense of an Ending (2011), Tony Webster, reconstructs his past through memory and narrative. Tony, an unreliable narrator in his sixties, attempts to decipher the truth and meaning of his past through his fallible memory and limited and insufficient documents. The central argument of

Edgar Allan Poe's The TellTale Heart is a profound examination of the complexities of human consciousness, where the boundaries between reason and madness blur in a chilling psychological descent. This paper explores the narrator's obsession with control-over time, perception, and morality-as a manifestation of his doomed attempt to suppress the subconscious forces that ultimately consume him. Through an analysis of psychomachy, temporal fixation, and the interplay between rationality and instinct, the study argues that the narrator's downfall stems not from external judgment but from the inescapability of his own fragmented psyche. By situating the story within Gothic and Enlightenment contexts, this paper demonstrates how Poe subverts traditional notions of reason and empiricism, revealing that intellect, when detached from emotional depth and ethical grounding, becomes a self-destructive force. Ultimately, The TellTale Heart serves as an allegory for the futility of imposing order on chaos, illustrating the inevitability of subconscious truths emerging despite the most calculated attempts to silence them.

Cada época presenta, condicionando al arte de su tiempo, síntomas de sus incertidumbres, inconsistencias, miedos y obsesiones. Y el cine es uno de los dispositivos que los recoge, estiliza y arroja de nuevo al espectador. Desde la década de 1990 hasta la de 2020, el cine nos invita a desconfiar de sus relatos. Los denominados mind-game films convocan narradores amnésicos, durmientes o mentirosos. Las más de las veces, ni el espectador ni los protagonistas son conscientes del delirante punto de vista desde el que observamos la historia. Sin embargo, la alteración temporal de estos films (su no linealidad) y las imposibles contradicciones de sus argumentos nos mueven a sospechar de la fiabilidad de la narración.
Este libro se propone entender sus mecanismos narrativos, argumentos y motivos visuales más recurrentes. Por los mind-game films transitan figuras detectivescas que terminan descubriéndose como culpables del misterio que investigan. Escritores atormentados son devorados por sus propias ficciones. Los protagonistas proyectan, sin saberlo, siniestros doppelgängers que circulan como personajes reales. Todo ello parece demandar un inusual esfuerzo de interpretación al espectador, que se enfrenta a ciertos fantasmas de su propio tiempo: este cine, desde su estructura delirante, pone en evidencia las promesas vacuas de la sobreabundancia de imágenes y las nuevas tecnologías como sustentos de la memoria e identidad del sujeto contemporáneo.

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Each era presents, conditioning the art of its time, symptoms of its uncertainties, inconsistencies, fears and obsessions. And cinema is one of the devices that picks them up, stylises them and throws them back at the spectator. From the 1990s to the 2020s, cinema invites us to distrust its narratives. The so-called mind-game films summon amnesiac, sleeping or lying narrators. More often than not, neither the viewer nor the protagonists are aware of the delirious point of view from which we observe the story. However, the temporal alteration of these films (their non-linearity) and the impossible contradictions of their plots lead us to suspect the reliability of the narrative.
This book sets out to understand their most recurrent narrative mechanisms, plots and visual motifs. In mind-game films, detective figures pass through the screen and end up discovering themselves guilty of the mystery they are investigating. Tormented writers are devoured by their own fictions. The protagonists unwittingly project sinister doppelgangers who circulate as real characters. All this seems to demand an unusual effort of interpretation from the spectator, who is confronted with certain ghosts of his own time: this film, from its delirious structure, exposes the empty promises of the overabundance of images and the new technologies as supports for the memory and identity of the contemporary subject.

Wenn man die Frage stellt, was einen literarischen Text zum Publikumserfolg macht, wirft man eine sehr komplexe Frage nach der Kultur einer Epoche auf: man fragt zwar nach der Beschaffenheit des Textes, aber nicht in seiner Immanenz, sondern im Zusammenhang mit verschiedenen kulturellen Faktoren. So fragt man nach dem aktuellen Publikumsgeschmack, bzw. dem Interesse des zeitgenössischen Lesepublikums, d. h. nach den kulturellen oder sozialen Fragen, die die zeitgenössische Zivilisation akut beschäftigen. Andererseits fragt man nach den Lesegewohnheiten des Publikums, nach seinen Erwartungen der gegebenen literarischen Gattung gegenüber, danach, ob die Leser gerade eine traditionelle Form der Gattung oder eher Experimente mit ihr erwarten. Im Netz der Antworten auf diese Fragen, ergänzt mit marktwirtschaftlichen und medienpolitischen Analysen, entfaltet sich der Hintergrund des aus der Wechselwirkung vom Lesepublikum und Text entstehenden Erfolgs. Besonders großes Interesse wecken jene Fälle, bei denen der Erfolg sich nicht auf das breite Publikum beschränkt, sondern die auch im Kreis der Vertreter der "hohen" Literatur Ansehen gewinnen. Zwar ist es in keiner nationalen Literatur beispiellos, dass ein Roman, der später als "hohe" Literatur kanonisiert wird, nach seinem Erscheinen auf den ersten Platz der Bestsellerliste kommt, doch ist unsere Kultur immer noch in dem Masse elitär, und auf Distinktion (im Sinne von Bourdieu) basierend 1 , dass Bestseller in Universitätskreisen gleich in Verdacht kommen, auf irgendeiner Weise die Ansprüche der Massen auf Kosten der Qualität zu befriedigen. Bücher, die anscheinend doch gleichzeitig "hoch" und "breit" wirken können, veranlassen dazu, die Zusammensetzung des Lesepublikums und eventuelle soziale Verschiebungen zu überprüfen, Kategorien wie "Massenprodukt" und "hohe Literatur" neu zu bewerten und ihre Stellung in unserer Kultur neu zu bedenken. Das neueste Beispiel für den gleichzeitigen Erfolg im breiten Lesepublikum und in Fachkreisen ist Daniel Kehlmanns Roman Die Vermessung der Welt, dessen Popularität immer noch ein ungelöstes Problem unter den Kritikern und Literaturwissenschafdern darstellt. Kehlmanns Roman war mehr als zwanzig Wochen lang auf dem ersten Platz der Bestsellerliste des Spiegels und es wurden mehr als eine Million Exemplare in Deutschland verkauft. Ähnlichen Erfolg hatte letztes Mal Patrik Süsskinds Parfüm oder Günther Grass' Blechtrommel. Der Roman wurde in mehrere Dutzend Sprachen übersetzt, wodurch er auch international Bedeutung gewann. Dieser Erfolg kann einen zu

The novel Gulliver’s Travels (1726) by Jonathan Swift is usually considered a comic fable for children. However, it is a severe attack to politics, religion, and science in eighteenth-century England. As literary production is constrained by its own sociocultural context, it allows us to read a novel as a historical document. In this fashion, this work aims to analyze the main satires to the eighteenth-century England deployed by Jonathan Swift in his most know novel as a possible means to depict the zeitgeist he was immersed in.

[This essay first appeared on the Hollywood Progressive website on 11/14/2024.] The recent seven-part Apple TV+ series ‘Disclaimer” revolves around a technique referred to in fiction as an “unreliable narrator.”The “narrator” in this case is the author of a book written by Nancy Brigstocke (actress Lesley Manville). In the first six episodes most viewers, as well as other leading characters (e.g. those played by Kevin Kline and Sacha Baron Cohen), will take the book’s adulterous version of what happened between Catherine Ravenscroft (played two decades later by Cate Blanchett) and Nancy’s son, Jonathan, as a true narrative. But in Episode seven we will see that the book’s portrayal is inaccurate, and as its director (two-time-Oscar-winner Alfonso Cuarón) said in an interview, narratives might have no correlation with truth. He also gave an example--about immigrants eating cats and dogs--from the recent U. S. election campaign. Thus, “Disclaimer” has a special relevance in our present Trumpian Time. Besides that, the series is well worth watching and thought provoking.

This paper examines Julian Barnes’s Flaubert’s Parrot by the five semiotic codes of the French literary critic Roland Barthes introduced in his renowned work S/Z, to show that the novel is a ‘writerly’ rather than a ‘readerly’ text. The paper defines what Barthes means by the text of the writerly and then attempts to see if the selected novel yields to this sort of interpretation. Since the novel has been categorized as both modernist and postmodernist by prominent literary critics, it can be a proper case to be examined as a writerly text. The paper shows that the codes of semantic, symbolic and cultural which produce the writerly text are at work in this novel whereas the codes of the hermeneutic and proairetic which are concerned with the conventional realist novels are marginalized or even absent. The article examines the writerly text makers of the author role, the theme of biography, the notion of literary criticism and the narration of the novel, referring to the codes creating the writerly text. The paper finally concludes that the semiotic sophistication and innovations in the narrative act of the novel stem from the categories discussed in the essay, ending in the construction of a highly sophisticated writerly text.

Drawing on Susan Lanser's approaches in queer and feminist narratology, this bachelor's thesis introduces the interpretation of two works of fiction by Milada Součková - Amor and Psyche (1937) and Bel canto (1944). Its primary subject of enquiry is that of identity in its relation to situatedness. The Theoretical Section functions to an extent as a standalone piece of analysis and besides Lanser's theoretical considerations it develops the notion of free indirect discourse (FID), a mode of expression characteristic of Součková's work. The Section further considers the mise en abyme technique, viewing it as a distinctive feature of the two studied works. The position of the narrators and their transgressive behaviour, the ambivalence of their personal attributes and finally their relations vis-à-vis other literary characters form the core of the subsequent Interpretation Section. Babbling voices at once blending under a single alias and then splitting again ensure tha...

Julian Barnes’ Flaubert’s Parrot (1984) is an experimental novel in which the narrator Geoffrey Braithwaite searches for parrots, multiple biographies, and truth(s) about the life of Gustave Flaubert. On the other hand, the novel has an infrastructure about Braithwaite’s personal life and grief that flows simultaneously with the surface layer of the narrative. All these concepts are treated as ‘holes tied together with string’ in the narrative of Flaubert’s Parrot, a phrase used for the definition of biography writing in the novel. With its intertextual, fragmented, parodic, and self-reflexive narrative, Flaubert’s Parrot has been often read and analysed having Postmodern literary theories in mind, centralising the experimental aspects of the novel. In this regard, Flaubert’s Parrot is a fruitful source to analyse with the postmodern consciousness as the novel approaches to past, history, biography and truth from the perspective that views these concepts not as solid, reliable or static, but as fluid, vague, and multiple. However, the infrastructure of the novel that is related with the loss of Braithwaite’s wife Ellen occupies an essential part in the novel, forming its raison d’etre as Braithwaite indicates that “Ellen’s is a true story; perhaps it is even the reason why I am telling you Flaubert’s story instead” (2012, p. 86). This study, by making specific references to Barnes’ memoir titled Levels of Life, presents how Braithwaite manages to insert his grief under the narrative of the search of Flaubert, his biography and his parrots. The study also compares Braithwaite’s approach to grief and mourning with the Freudian sense of the concepts.

Ce memoire de maitrise porte sur Ravel (2006), Courir (2008) et Des Eclairs (2010), trois biofictions ecrites par Jean Echenoz. Plus precisement, nous tenterons de definir l’imaginaire existentiel de ces romans. Pour ce faire, il nous faudra en degager la poetique existentielle, c’est-a-dire la facon dont les evenements sont racontes. Nous nous interesserons aux traits narratologiques et temporels de ces recits, mais aussi a ce qui motive les actions des personnages. Le premier chapitre montrera que ce qui est indeniablement commun aux trois biofictions est l’apogee et la chute, que chaque personnage est a un certain moment au sommet de la hierarchie sociale, puis connait une periode de declin plus ou moins longue, attribuable a un handicape. Les romans se terminent par une chute qu’un evenement a precipitee. Nous verrons ce que ce que cette courbe suppose sur le plan de la conception de l’existence. Le deuxieme chapitre analysera l’organisation du temps dans les biofictions autour ...

Contemporary autobiographical fiction, especially in scandinavian literature post-Karl Ove Knausgård, challenges traditional literary interpretation. This article examines interpretive strategies for Naja Marie aidt's When Death Takes Something from You Give It Back, advocating for a shift to empathetic, engaged reading, aligning with Rita Felski's idea of postcritical reading.

The essay investigates we-narrative, a narrative form which revolves around a first-person plural narrator. More specifically, it focuses on unnatural we-narratives, i.e., narratives in which the we-narrator is a non-human collective. In order to do this, it analyzes three narrative texts published in Italy between 2015 and 2020 that in different ways challenge naturalness. After reasoning on how these texts can be naturalized, i.e., rationally explained, the final section will comment on the posture of the three we-narrators.

Unzuverlässiges Erzählen ist zwar erst seit den 1960er Jahren im narratologischen
Diskurs präsent, aber seither existieren zahlreiche theoretische Abhandlungen, Diskussionen und Weiterentwicklungen des Konzepts. Dieser Artikel macht es sich zur
Aufgabe, den sich immer weiter verästelnden Diskurs zu sichten und zu diskutieren,
welche Konzepte, Ansätze und Überlegungen für didaktisch orientierte Betrachtungen
und eine transmediale und transgenerische Erweiterung des Phänomens sinnvoll sind.
So wird herausgearbeitet, dass für didaktisch orientierte Analysen eine heuristische
Trennung in Gegenstands- und Rezeptionsebene als sinnvoll erscheint, um damit eine
intersubjektive Betrachtung der materiell gegebenen Unzuverlässigkeitssignale zu ermöglichen und in einem zweiten Schritt Überlegungen zur Verarbeitung dieser Signale
durch Rezipient:innen anzustellen. Zentral ist, die Fokussierung von Unzuverlässigkeit
im Rahmen des Unterrichts nicht dahingehend misszuverstehen, dass eine explizite
Übertragung des Phänomens in den Unterricht erfolgt. Vielmehr soll ausgelotet werden,
inwiefern unzuverlässig erzählte Gegenstände zur Ausprägung eines kritischen und
literarisch kompetenten Rezeptionsmodus helfen können

The social structures and thought patterns of the modern world are the fruits of the Enlightenment, which begins by eliminating final causal explanations in favor of purely material and efficient causes. The development and great technical success of Enlightenment procedures has, however, produced a cultural blindness about the good. Camus's novel shows us this cultural blindness through characters who themselves suffer from it; for modern man it is almost a natural evil-we are born into it. Camus's hope must have been that the vision of the characters' incapacity might help break us from the same incapacity. What the cured life looks like Camus does not say; in the world of our plague it appears as either odd or mystery.

Through a literary analysis of Alice Munro’s short story “The Bear Came Over the Mountain” (1999), the article explores the theme of indeterminacy and gaps in the text and their impact on readers’ interpretation. Drawing on the concepts of Iser’s implied reader, Kukkonen’s embodied reader, and Abbot’s acceptance of unknowability, the article reveals how Munro engages readers in constructing hypotheses and continuously challenges them by introducing new insights, prompting revisions of interpretations. By exploring the deliberate indeterminacies in Munro’s narrative, this study aims to elucidate the interplay between authorial intention and the reader’s interpretive agency. The article also mentions the film adaptation of Munro’s short story by the Canadian director Sarah Polley, Away from Her (2006), and highlights the use of indeterminacy within the visual medium.

Narration is a complex literary concept that has been discussed and elaborated on by many literary critics and thinkers for decades. Ever since the conceptualization of the term "the unreliable narrator," critics have come forward to mark the many possibilities were narrators may be confirmed to be unreliable, depending on flaws or certain defining markers that indicate unreliable characteristics within the literary work. This paper shall confine the means of the unreliable narrator and finalize its distinct characteristics in several points. Narrators should be tested in means of the stability of their personality, the reality of their given statements and their accordance with the implied author. Any unmistakable shortcoming will naturally affect the reliability of the narrator. The means of the unreliable narrator shall be studied thoroughly in Ahmad Saadawi's award-winning novel Frankenstein in Baghdad (2013) and the reliability of the narrators will be evaluated according to the proposed points.

This paper aims, ultimately, to make a contribution to the study of the narrative constitution of factual narratives, and, with that aim, it focuses on a particular subclass of an oral and interactional character: the illness narrative. To this end, on the basis of the analysis of a corpus produced in a public hospital in the south-ern Buenos Aires metropolitan area (Argentina), it proposes: 1. A brief historical-critical review of the main contributions to the reflection on the story / discourse dichotomy and the failed attempt to deconstruct it; 2. The hypothetical postula-tion of a different functioning of these two structural levels in factual and fictional autodiegetic narratives, and the pointing out of the central role of emotions in this respect, in a theoretical-methodological sense. 3. A partial model, devised for the analysis of medical consultations, which justifies the differentiation of two levels on the represented side (the what) and which seeks to account for the function of narrated feelings in the logic of co-narration that takes place in the doctor’s sur-gery.

Comics können aufgrund ihrer Bild-Text-Interdependenzen narratologisch und semiotisch unzuverlässig sein. Am Beispiel des Comics Insekt (2006) von Sascha Hommer wird exemplarisch beleuchtet, welche Spezifika der Unzuverlässigkeit sich insbesondere für das Bildverstehen ergeben können und wie diese von Lernenden rezipiert und verarbeitet werden. Anhand ausgewählter theoretischer Annäherungen an den Comic wird dargestellt, welche spezifischen Möglichkeiten der Ausgestaltung von Unzuverlässigkeit im multimodalen Zusammenspiel sich hier bieten. Dabei wird insbesondere auf die Bildwahrnehmung in Hommers Insekt Bezug genommen. Im Rahmen einer Lautdenk-Studie und daran anschließenden Lektüreinterviews wurde zudem ersichtlich, dass multimodale Verstehensherausforderungen-wie z. B. unzuverlässige Ikonizität-heuristische Sensibilität für deren Verhältnis zu Vorwissen und medialen Rezeptionserfahrungen im Sinne sprachlicher, bildlicher, emotionaler und immersiver Fähigkeiten der Lernenden erfordern.