Unreliable narrators

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.

In this chapter, I argue that doubly deictic you-narratives are inherently metaleptic and crucial to consider alongside the metaleptic narrative engagement involved in the cultivation of SPSs. Two examples of contemporary you-narratives are discussed to explore how SPS-research might inform and enrich understandings of narrative form and vice versa: Julietta Singh's epistolary memoir The Breaks (2021), and Sheila Heti's autofictional novel Motherhood (2019 [2018]). Often featuring a latent narrating-I located in the narrative future addressing a present you-narratee self, autodiegetic you-narration operates according to the logic of the future perfect tense, or the anticipation of retrospection (Currie 2015), in more explicit ways than other narrative forms. If fictional narratives and storyworld possible selves enable readers to experience events in the mode of the 'as if'-that is, a simulation environment to test out different possible selves-then perhaps this is also done according to the logic of the future perfect tense, or the anticipation of retrospection.

The subject of this essay is a secret. "The Secret Sharer" was written late in 1909, after a visit from Captain Carlos M. Marris, of Penang, had revived Conrad"s memories of his own adventures in the East as a young man. It was also as a distraction or relief from his struggles with the novel that would become Under Western Eyes (Stape 170). "The Secret Sharer: An Episode from the Coast" was published in 1912 with "A Smile of Fortune" and "Freya of the Seven Isles" in the collection 'Twixt Land and Sea (hereafter TLS). It is the story of a young ship"s captain about to start a voyage on his first command, who shelters on board an officer from another ship, a man named Leggatt, who has killed a crewman and escaped by swimming from his own vessel. The young Captain, who has been immediately struck by an uncanny feeling of kinship for the fugitive whom he frequently refers to as his "double", conceals Leggatt in his own quarters, unknown to his own officers and crew, and after several days arranges for him to make his escape by swimming to an island, just as the wind rises and the captain"s vessel begins its own journey. The story is the captain"s retrospective narrative. The thick layer of criticism with which this story is barnacled has a consensus in its feeling that the relationship between the unnamed "young Captain" (as I must entitle him to avoid later confusion) and the fugitive Leggatt is what most needs explaining in this tale. "The Secret Sharer" is in many ways one of Conrad"s most straightforward stories, moving steadily forward in a linear fashion and observing, more or less, the classical unities. But the young Captain who tells the story is generally agreed to be an example of that Conradian trope, the unreliable narrator. I am not sure that criticism has taken the full measure of this unreliability, however. In probing it, I intend to expose more than one extra level of secret sharingand secret-sharingin the tale. 1 In this I follow respectfully in the tracks of Robert Hampson, who nonetheless in his book Conrad's Secrets keeps pretty quiet about "The Secret Sharer", for reasons which, appropriately, he does not divulge. Form and content being indivisible, it is no surprise that this theme of doubleness or echoing is embodied in the tale"s narrative method in various tropes of similitude, repetition, and contrast. These doublings, which have been schematically represented in an "ethico-structural analysis" by Cedric Watts (29), provide much of the rhythm of a suspenseful, well-formed, symmetrical narrative which moves forward towards an exciting climax and satisfying closure with the escape of the fugitive, "a free man, a proud swimmer striking out for a new destiny" (TLS 119). Indeed so shipshape is the story"s structure that Jakob Lothe (64-71) raises the concern that its squared-away structure, its tidiness and economy and pace, work to obscure or distract from the problematic and messy moral issues which ought to attend it. The tale ends triumphantly with a romantic image of heroic action, the proud swimmer: on the other hand, Leggatt undoubtedly is a murderer, and Lothe feels the moral ambiguity of the narrator"s strong identification with a blood criminal remains largely unresolved. I will return to this. In a personal narrative, as Lothe observes, "the absence of a stable, correcting position of authorial authority presents difficult problems of interpretation" (71). This is certainly the case but it also presents a particular kind of authora Conrad or a Henry Jameswith opportunities, and there is no doubt it was these opportunities that so often drew Conrad to personal, sometimes multiple narration. It is a method that is bound to raise in the frame of the aesthetic the questionor, as we might say, the questioningof authority which in its moral and psychological and

With a few notable exceptions, scholars have avoided sex-oriented readings of Nabokov's works. The decisive factor is likely the taboo imposed by Nabokov: "Let us skip sex," he stated in an interview with Alvin Toffler in 1964, a stance supported by the author's vehemently expressed disdain for Freudianism. Maurice Couturier enters this forbidden ground in his new book, Nabokov's Eros and the Poetics of Desire, which focuses on the importance of erotic elements in Nabokov's novels and short stories.

Este artículo explora la conexión entre la empatía, la brujería y la relación madre-hijo en la novela ejemplar El coloquio de los perros (1613) de Miguel de Cervantes, poniendo especial atención en el episodio de la bruja Cañizares. Partiendo de una perspectiva hermenéutico-literaria e histórica, a la que acompañan los aportes de la psicología en torno a la noción de empatía, el presente análisis se propone desentrañar las relaciones emocionales entre el perro Berganza, su serie de amos y la bruja. De esta forma, se ofrecerá una revaluación de la reescritura cervantina del género de la picaresca, así como de los dilemas emocionales de los personajes y los lectores, y de la ejemplaridad latente de la obra en el contexto de la brujería en la España aurisecular.

Appler and your family, Mirjam Grauli, Johanna Knoll, and Simon Nganga. My friends Lily Nyariki, Charles and Lynet Otwori are highly appreciated. Special tribute to my father Cleophas Wamalwa, my mother Frida Namarome, My parents in-law Papa Gelas Wekesa, Mama Elizabeth Titi and Bilha Wekesa. I thank you my brothers and sisters, Party, Betty, Eva, Mike, Gerald, Robert, Fred and Pharis for your ceaseless prayers for me. I appreciate my adopted German grandparents Herr and Frau Hans Spulak who made me a part of their family. Thank you for all the birthday cakes, the dinners, the music and dance, and the laughter we shared.

La voz femenina es la dimensión de una postura de mundo múltiple que vindica la libertad individual. En la voz femenina no hay un significado unificado ni totalizado, sino construido y plural, abierto al significado del acontecimiento de la palabra en el presente. Esta voz no puede simplificarse a que hable un personaje mujer, alcanza una complejidad mayor, al ser perspectiva específica de la realidad, cuyo enfoque expresa la otredad y la búsqueda de una voluntad propia. La voz femenina es, por tanto, presencia, introspección, disidencia. Si partimos de estas afirmaciones, ¿quién es la bruja Cañizares desde la dimensión de la voz femenina? ¿Quién es para sí misma? ¿Quién es para el 'otro', para la sociedad? Intentaremos dar posibles respuestas a estas inquietudes, centrándonos en tres aspectos: la poética de la ambigüedad como medio de construcción de la voz de la bruja, la expresión del deseo erótico y la crítica a la violencia masculina en los discursos de la Cañizares. La Cañizares es una bruja sabia, una bruja crítica, que conoce cómo funciona la obra de Dios, cómo funciona la sociedad y cómo funciona ella misma dentro de las normas sociales, sexuales y culturales. Si bien es adepta al diablo, cuestiona las potestades que este dice tener, pero reconoce, a un mismo tiempo, que no tiene la suficiente fuerza de voluntad para dejar los placeres con él: "Todo lo veo y todo lo entiendo, y como el deleite me tiene echados grillos a la voluntad, siempre he sido y seré mala" (Cervantes 2001, 597). La voz femenina de la Cañizares implica, por tanto, no sólo la expresión del deseo erótico, sino una reflexión sobre su lugar en el mundo, lo cual supone la conciencia sobre sí misma, la conciencia sobre el otro y la conciencia sobre la sociedad, esto es, una ética de la existencia; la parte reflexionada de la libertad individual. Ante el reconocimiento de la Cañizares de no poder dejar los deleites con el diablo, nos preguntamos ¿cuál es la distancia discursiva precisa que debe mantener para estar dentro de la sociedad sin estar fuera de sí misma y al mismo tiempo obedecer los impulsos del deseo erótico sin exiliarse? He ahí el juego en la palabra entre parecer y ser; el movimiento entre un ritmo ajeno y un ritmo propio; la tensión entre intentar definir su identidad en una sociedad en la que la bruja es el símbolo de lo ajeno, de lo prohibido, de lo otro. La voz de la Cañizares nace de la incertidumbre, de la contradicción. Estamos ante el juego de la poética de la ambigüedad cervantina para configurar personajes femeninos complejos, libres. Es significativo observar que la novela que abre la colección de Novelas ejemplares es La gitanilla, y la que la cierra, El coloquio de los perros. Tanto Preciosa como la Cañizares presentan personajes femeninos atípicos, disonantes, en el sentido de que hacen una distancia de sí mismas y del mundo, que les permite reflexionar sobre su condición, por medio de una voz que no sólo es crítica de su entorno, sino plena de perspectivismo, con lo cual exteriorizan una mirada problematizada de la realidad. No olvidemos ese "parece que" con que inicia La gitanilla, y que está determinando sígnicamente, sin duda, tanto la voz de Preciosa, como la de la Cañizares, en la última novela de la obra, puesto que esa frase inicial es la clave cervantina para entender que nada en las novelas es lo que parece ser. Por

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.

The article addresses the relationship of multiperspectivity and unreliable narration in contemporary film. The analysis of two examples (the North American film Vantage Point and the Danish TV-serial Forestillinger) shows how, on the one hand, reliability is established through the composition of various perspectives: The medial transmission of these films resembles the central control room of a closed-circuit monitored building, and seems to promise objectivity, overview and insight into details. The use of cinematographic techniques, on the other hand, calls these promises into question from the outset, because the camera work and the editing make clear that, first, we are not capable of seeing objectively but only perspectively; second, an overview is sensorily impossible; and third, the knowledge of details is always a question of zoom, light and focus and therefore only granted by the technical camera work. The main thesis is that the formal layout of the material in the medium plays through the traditional demand made of the medium (objectivity, overview, insight into details), and its intrinsic promise to fulfill this task, ad absurdum. Vantage Point and Forestillinger have one thing in common: they repeat sequences of the plot from different points of view. But they also differ in a decisive aspect: Whereas Vantage Point as a mainstream film steers towards a preset interpretation in the synopsis of the episodes in the end, and therefore aims at a synoptically reliable narration despite the unreliability of partial sequences, Forestillinger instead leaves this interpretive work up to the recipient. As a result, the narration of reality is reliable insofar as exactly the unreliability of perception is exhibited, which results in the kaleidoscopic mode of representation.

Delving into the narration of Ian McEwan's Sweet Tooth (2012), this enquiry unravels the threads of conventional realistic narrative and avant-garde postmodernist one in the tapestry of the novel, arguing that through the miscibility of these two heterogeneous modes of narration McEwan constructs a narrative meta-design that innovatively adds an enigmatic dimension to the spy novel genre. In his dual narrative that depends on verisimilitude as well as self-conscious reflexivity, he once again, a decade after his Atonement (2002), demonstrates his literary taste for bridging the "past" and "present." Marinating his narrative in Cold War events, and adding a dash of what Linda Hutcheon calls "historiographic metafiction," he makes a postmodern signature dish that sustains its paradoxical hybridity: a representational self-reflexivity or an anti-representational reflexivity. Aligned with Monica Cojocaru's detection of a "metafictional twist" in the novel as a part of her comparative investigation, this study discusses that Sweet Tooth's dual narrative makes it eligible to wear the postmodern badge.

This study attempt to explore the function of the two major narrative techniques in the novels The Young Crusader and The Letters. In this regard, the main aim of this study is analyzing the narrative voice and focalization of the two narrative texts. Therefore, in order to achieve the objective of this study, the researcher tries to review some related literature concerning Ethiopian literature and narrative techniques. It also discusses about different studies that have been done on the techniques and their applications to different novels. These studies have recognized different appearance of narrative voice and focalization in fictional writing. On the way of analyzing the two, the researcher looked at some related issues like voice markers of narrator, relation between the narrator and the story, reliability of the narrator, features of focalization, verbal indicators of focalization and finally narrators as focalizers. Finally the researcher came up with some findings the two novels have different appearance both in narrative voice and in focalization and it is clear that narrative voice and focalization can come into view as one or separately. In other words, this research shows that narrative voice and focalization can come together as one but still they are not the same. In addition, one narrative text can have more than one narrator as well as focalizer.

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.

Delving into the narration of Ian McEwan's Sweet Tooth (2012), this enquiry unravels the threads of conventional realistic narrative and avant-garde postmodernist one in the tapestry of the novel, arguing that through the miscibility of these two heterogeneous modes of narration McEwan constructs a narrative meta-design that innovatively adds an enigmatic
dimension to the spy novel genre. In his dual narrative that depends on verisimilitude as well as self-conscious reflexivity, he once again, a decade after his Atonement (2002), demonstrates his literary taste for bridging the "past" and "present." Marinating his narrative in Cold War events, and adding a dash of what Linda Hutcheon calls "historiographic metafiction," he makes a postmodern signature dish that sustains its paradoxical hybridity: a representational self-reflexivity or an anti-representational reflexivity. Aligned with Monica Cojocaru's detection of a "metafictional twist" in the novel as a part of her comparative investigation, this study discusses that Sweet Tooth's dual narrative makes it eligible to wear the postmodern badge.

The starting point of this article is the debate over cinematic realism, "truthful cinema," and "the truth of cinema" in Chinese language cinema, providing a close reading of Lou Ye's Suzhou River (2000), a film that delves into the boundaries between truth and false, past, and present, and reality and fiction. It focuses specifically on the use of voice-over and other aural components, particularly when they are nonsynchronous with the image. This article explores the interstices between the image and the sound, the storytelling, and the extradiegetic operations involving the film and investigates how these elements assist in the narrative construction. Furthermore, it argues that the recurring self-contradictions in Suzhou River are deeply rooted in a camera-consciousness that continually disrupts, deconstructs, and reveals the narrative construction, thereby fostering the characters' becoming-real. This meta-cinematic approach unveils cinema's potential to create "truth," transforming the film narrative into a dynamic, open-ended state of possibility.

Basándonos en los análisis sobre el concepto de autoridad textual, las figuraciones de autor y las relaciones entre ficción y no ficción, este artículo busca ofrecer una nueva hipótesis sobre la configuración de las voces narrativas del Quijote. En concreto, nos centramos en la transición entre los capítulos octavo y noveno de la Primera parte para explicar la naturaleza del segundo autor como una autofiguración de Cervantes, justificar su intromisión como un recurso destinado a evitar la identificación entre este y el primer autor y dar cuenta de la voz aparecida al final del octavo capítulo como perteneciente al propio alcalaíno. La voz narrativa introducida por Javier Marías en Todas las almas nos sirve de referente para nuestra argumentación.

Ро ман ака дем ске са ти ре је по себ ни об лик ака дем ског ро ма на у ан гло сак сон ској књи жев но сти два де се тог ви је ка. Је дан од пр вих та квих ро ма на је сте ро ман Ака де мов гај аме рич ке књи жев ни це Мери Ма кар ти, об ја вљен 1952. го ди не, пи сан с не по сред ним ака демским ис ку ством, ре а ли стич но и ду хо ви то. У ње му се опи су је је дан ти пич ни "про гре сив ни" аме рич ки ко леџ на ко јем су се из у ча ва ле ху ма ни стич ке на у ке. Са ти рич на оштри ца упе ре на је ка лич но стима пре да ва ча и њи хо вим ма хи на ци ја ма. Циљ овог ра да је сте да ука же на пре по зна тљи ве од ли ке аме рич ког ро ма на ака дем ске сати ре, као и да ис так не ау тор кин ин ди ви ду ал ни та ле нат у сли ка њу ка рак те ра и си ту а ци ја у ака дем ском окру же њу. Кључ не ри је чи: аме рич ка ака дем ска са ти ра, уни вер зи тет, кампус ро ман, ху мор.

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 in other words, anthropomorphized. In the case of film, the main problem is that the narrator is either missing or the narration cannot be attributed entirely to them. There is a medial rupture where the apparatus mediates the story instead of a character’s oral or written discourse. The present paper focuses on some important but overlooked questions about the nature of cinematic storytelling through a...

This article discusses the integration of semiotic rhythm analysis with the theory of possible worlds. The complex issue of analysing rhythm in narrative texts has been tackled by Daniele Barbieri with his theory based on ‘textual relief’, an adaptive theoretical tool for identifying and investigating rhythmic strategies at all textual levels and across different media. Narratology, with its in-depth description of narrative strategies concerning worldbuilding, can contribute to a great extent to this endeavour. Merging the two theories, a detailed analysis of narrative choices can be performed, with a specific focus on the narrator’s strategies concerning withholding and divulging information to the recipient. Offering a theoretical overview and specific examples of different narratorial strategies, this paper examines several ways in which narrators can exploit the epistemic disparity between the recipient’s knowledge and their own to manage tension and suspense, thus creating tex...

By the concept of 'natural' narrative, Monika Fludernik brought a new perspective for narratology in the late '90s. In her narrative theory, narrativity starts with the human experience rather than the plot. Fludernik's approach may provide an insight into understanding ḥadīth. Each ḥadīth account is a report of a saying, an event, or an experience about the Prophet Muhammad from the perspective of companion narrators. Ḥadīth also asserts the Prophet's life experience by telling how he acted in his life and reacted to people's attitudes. Ḥadīth transmission is also an experience referring to narration of prophetic knowledge from one generation to the next. In this article, I try to discuss to what extent ḥadīth can be considered 'natural' narrative in the framework of Fludernik's theory.

La naci6n espafiola sufri6 varios traumas durante el siglo veinte. Ya era una sociedad muy dividida ideol6gica y politicamente cuando estall6 la sangrienta y divisoria Guerra Civil, en 1936, seguida por la victoria del Generalisimo Franco, cuyo regimen represivo coincidiria en sus primeros afios con la Segunda Guerra Mundial, que des-troz6 Europa, y luego la estancia en el poder de la Palange hasta la muerte de Franco en 1975. Espana se hallaba durante ese siglo en una coyuntura de necesitar recuperar la memoria hist6rica, y de intentar reconstruir su identidad tan fragmentada por diversos traumas: violencia, guerras, represi6n y exilio. Sin embargo, las divisiones sociales, politicas e ideol6gicas no permiten que haya una sola version de su historia sino varias personales, seg(m la ideologia de cada uno. En este trabajo, se examinaran varios aspectos del revisionismo hist6rico, la recuperaci6n de la memoria, y la busqueda por la identidad en tres obras del escritor espafiol, Juan Manuel de Prada: Las mascaras del heroe (1996), El septimo vela (2007) y Me hallara la muerte (2012).

In What is Literature? Sartre theorises prose-writing as "an action by disclosure" and simultaneously "an appeal" to readers to collaborate in its production. Using these conceptions, this paper attempts to study the reader-engaging form, writing style, and narration of the 'disclosure narrative' of the neurodivergent young adult narrator in Mark Haddon's The Curious Incident of the Dog in Night-Time. It will be argued that the disclosures by Christopher Boone, the adolescent narrator with autism, and the text's Sartrean appeal are enhanced by his notable self-conscious and unreliable narration, and the formal-stylistic experiments in the novel informed by his idiosyncracies.

This article analyzes the dynamics of fictional dialogue in three short stories by the Finnish author Rosa Liksom. These stories are constructed almost entirely of dialogue, with minimal involvement on the part of the narrator. We adopt two different approaches to dialogue. First, we analyze dialogue from a micro level, as interaction between the characters within the storyworlds, then from a more holistic perspective, paying attention to how dialogue contributes to the rhetorical structure and ethical interpretation of the stories. We show that resorting mainly to dialogue as a narrative mode works as a way of depicting tensions between Liksom's characters, and between them and the surrounding fictional world. This, in turn, engages the reader in an interpretative process to understand the story's logic both within the fictional worlds and on the level of communication between the implied author and the authorial audience.

The COVID-19 pandemic inaugurated a resurgence of interest in Albert Camus' 1947 novel The Plague. Recent commentaries on the work have emphasized its themes of human nature, decency, and solidarity. However, hasty readings of the novel often trade in simplifications and misunderstandings that conceal or misconstrue the novel's subtler existential and ethical insights. In this chapter, I set up a plausible prima facie reading of central themes from The Plague based on recent commentaries. I then show how the novel's message is much more complex than the prima facie reading realizes. The Plague offers no simplistic ethical prescriptions. Rather, it challenges us to further existential and ethical reflection and inspires courage.

The purpose of this essay is to explore the interplay between the personal secret-sharing that forms the overt subject of Joseph Conrad's celebrated short-story "The Secret Sharer" and the impersonal sharing that occurs continuouslybetween two distinct "imperatives": the territorial, which controls the overt actions of the protagonists, and the symmetrical, which which guides the covert activity of Conrad himself. Its methodology is inspired by Robert Ardrey's classic study of the quest for territory in The Territorial Imperative, on the one hand, and, on the other, Marcel Jousse's study of human beings as a bilaterally symmetrical species in L'anthropologie du geste, on the other. The captain's failure to claim uncontested "communion" with the territory represented by his ship will lead to his fulfilling it via the "mysterious communication" that he achieves with Leggatt as a substitute "territory." His determination to prevent the discovery of his designated double by the members of his crew is accompanied throughout the story by Conrad's inviting his readers to discover the innumerable doubles that contribute to its design. These doubles oscillate between the high visibility of the "two bunches of bananas [that] hung from the beam symmetrically" and the low visibility of Leggatt's "headless corpse" at the beginning of the story and his "hatless body" at the end.

The use of mimetic and diegetic modes of storytelling has significant implications for the meaning and interpretation of Wilkie Collins's (1824-1889) short story collection After Dark (1856). By using a framed narrative structure, Collins highlights the mimetic features of the stories in his collection. He creates a semi-factual atmosphere through dividing the story universe into two levels. On the first level, the discourse of the primary narrator and his wife emphasizes the mimetic nature of the six realistic stories recounted on the second level. Through following such a structure, the author seeks to create the illusion that the stories in the collection are biographical accounts. Verisimilitude, or lifelikeness, is therefore presented as the primary narrative property in After Dark. However, as this article mainly argues, the authorial discourse presented in Collins's general preface to the collection-which, to use Gerard Genette's term, is a paratext or threshold-dismantles the characters' realistic pretentions on the two levels of the storyworld. More precisely, by calling the six narrated stories in the collection the offspring of his own imagination, Collins's paratextual preface destroys the highlighted mimetic claims on the two levels in the storyworld.

The use of mimetic and diegetic modes of storytelling has significant implications for the meaning and interpretation of Wilkie Collins's (1824-1889) short story collection After Dark (1856). By using a framed narrative structure, Collins highlights the mimetic features of the stories in his collection. He creates a semi-factual atmosphere through dividing the story universe into two levels. On the first level, the discourse of the primary narrator and his wife emphasizes the mimetic nature of the six realistic stories recounted on the second level. Through following such a structure, the author seeks to create the illusion that the stories in the collection are biographical accounts. Verisimilitude, or lifelikeness, is therefore presented as the primary narrative property in After Dark. However, as this article mainly argues, the authorial discourse presented in Collins's general preface to the collection-which, to use Gerard Genette's term, is a paratext or threshold-dismantles the characters' realistic pretentions on the two levels of the storyworld. More precisely, by calling the six narrated stories in the collection the offspring of his own imagination, Collins's paratextual preface destroys the highlighted mimetic claims on the two levels in the storyworld.

This paper aims to study Ian McEwan’s presentation of the world as a dystopian social space. McEwan paints an ugly picture of the present times and gives a warning to contemporary society against the inhuman cruelties that rock it every moment. The people have started fiddling with the natural systems which have now fallen upon them. The world has lost the balance and the people have started to suffer for their own faults. The present world confronts alienation, anxiety,  fear and death etc. on a daily basis and the fundamental role is played by the fiction in expressing such experience. Many such characteristics are found in the novels of McEwan which render his texts as a participating member in highlighting the present crisis. The novels of McEwan present a bleak picture before the readers as things are going in a horrible direction. It can be inferred that McEwan is trying to bring home the idea of destruction and other mis-happenings which have taken a toll on the world and thereby giving a message to the people to act before it is too late.

This article looks at Joseph Conrad's lasting legacy and influence on the literature that followed him. His unique background and Polish experience allowed him to look at the world in a unique way as compared to his contemporaries such as John Galsworthy. Conrad's views on narrative, on colonialism, on the nature of universe, on the writing of political fiction, and his use of elements from popular fiction both directly and indirectly influenced the Modernism movement and many later writers, aspects of whose works reveal their origins in the works of Conrad.

Vinland, George Mackay Brown's fourth novel, is critically categorised as very traditional historic fi ction and it is often overlooked, with more attention granted to his other novels Magnus and Greenvoe, which are perceived as more innovative. While the discussed text does reveal the infl uence of older narrative motifs and techniques (such as the saga or epic traditions), they are there not for their own sake. They are combined with some experimental techniques of rendering perception and activating cognition which are used to comment on and to illustrate the role of storytelling in constituting and disseminating identity. Brown achieves this through experimenting with the experiential and intersubjective patterns of narration that engage the reader in the process of textual discovery. This projects a different reading style compared to the one provoked by the novel's surface focus on juvenile adventure.

The structural and value developments resulting from the cultural revolution in contemporary societies, parallel to the growth, have sought attention to the category of memory. Cultural memory has become an important tool in producing discourses and representations, as well as forming the cultural identity of social groups and communication with many institutions and social structures. The present article seeks to describe the contexts, functions, and effects of memory studies as an interdisciplinary academic tradition and introduce its main approaches and methods, especially in the tradition of cultural studies. For this purpose, the approach of neuro-aesthetics was utilized, and the Atonement Novel was reviewed, which in addition to adding important agendas in the study of everyday life and popular culture, also has a great contribution to the connection of humanities and social sciences and a better understanding of cultural and social complexities. Given the results, the major p...

This research discusses the narrative discourse structure in Quentin Tarantino's Pulp Fiction movie script. Pulp Fiction (1994) is known as one of the best crime and drama genre movies. It was directed by Quentin Tarantino. The script was written by Quentin Tarantino and Roger Avery. The movie presented many drops of blood, fights, and gun in the scenes. This movie also provides us with many "nigga" words. The researcher used Gerrard Genette's narrative discourse theory. This study was conducted into two research problems: 1. what are the kinds of voice in Quentin Tarantino's Pulp Fiction movie script? 2. What are the kinds of frequency in Quentin Tarantino's Pulp Fiction movie script? The result of this research is that in this movie there are two kinds of voice. Moreover, there are some data that show frequency in Quentin Tarantino' Pulp Fiction movie script.

«Cañizares y los médicos: de nuevo sobre el bálsamo de brujas cervantino», A la sombra de la Camacha. Formas y funciones de la superstición en Cervantes. Anejo n.º 13 de Etiópicas: Revista de Letra Renacentistas, ed. Elvezio Canonica, Pierre Darnis & Alberto Montaner, Huelva, Universidad de Huelva, 2023, pp. 193-206.

Narratologists remain divided over how and if narrative unreliability works in literary dream sequences. Many believe that Wayne C. Booth’s idea of unreliable narration as a “secret communion” of author and reader “behind the narrator’s back” does not extend to surrealistic prose styles, in which Booth claimed “the author and reader may meet, like Voltaire and God, but they do not speak”. While recent scholarship has challenged this notion, few studies have examined how traditional norms of unreliability might function within literary dream logic specifically. My paper aims to reconcile these approaches, using as a case study Kazuo Ishiguro’s novel The Unconsoled (1995), a text unique in pairing dream prose with a narrator whose self-deception exemplifies the ironic gap central to unreliable narration. Employing theories of unreliability, narrative processing, and dream interpretation, I analyse the relationship between dream logic and narrative structures in The Unconsoled. I argue...

This research re-questions the concept of cinematic narrator, to evaluate the understanding towards narrative cinema and its operations. Through a case study on the feature film Narratage (2017), this research attempts to problematize how film arranges the logic of its storytelling through narrative structure and narration, as well as how the elements of film style contribute to the narrativity of the cinema. To answer these questions, a narrative analysis based on plot segmentation and close textual reading is used to read Narratage. Based on the result of the analysis, it could be argued that the cinematic narrator does not only refer to the "figure of the storyteller," but instead relates more widely with how the audiovisual enunciation is utilized to form the narrative itself.

A bout two hundred years have passed, as Benedict Anderson tells the story, since novels featuring protagonists that mirrored their readers' norms and values first began to elicit sympathy from mass readerships in one nation after another. Given this impressive record, why would any novelist abandon the one formal component of the novel that would seem to guarantee its popular reception? Yet a number of contemporary novelists have done exactly that. Rather than representative men or women, the novelists I have in mind offer us protagonists that might more accurately be called human "extremophiles," a term for biological life-forms that survive under conditions thought incapable of sustaining biological life. Melinda Cooper uses this term to explain how, in rethinking the limits against which such life was previously defined, the biosciences have also rethought its law of evolution as more innovative than adaptive. 1 I I owe thanks to John Frow and the Department of English at the University of Sydney for the opportunity to present a version of this argument and to Matthew Omelsky for serving as my very able research assistant.

This essay reflects on the anxieties and rewards attending authorship as a mode of communicative interaction, as illustrated by a complex case of authorial (self-)representation-David Lodge's writing a novel on Henry James. While James portrayed some of his own libidinal investment in authorship in such stories as "The Middle Years", Lodge's portrait of James reflects a measure of Lodge's own "anxiety of authorship" in an age of increased authorial visibility through the media and in publishers' marketing strategies. Resumen Este ensayo reflexiona sobre las angustias y satisfacciones de la interacción comunicativa del autor literario, ilustradas por un caso complejo de (autor)representación del autor-la novela de David Lodge sobre Henry James. Mientras que en historias como "Los años medios" James representó parte de su propia inversión libidinal desplazada hacia la creación literaria, el retrato que Lodge nos da de James refleja en cierto modo las propias "ansiedades de autoría" de Lodge tal como se viven en una época en la que los autores son cada vez más visibles a través de los medios y del márketing editorial.

George Wilson has defended the thesis that even impersonal third-person fictional narratives should be taken to contain fictional narrations and have fictional narrators. This, he argues, is necessary if we are to explain how readers can take themselves, in their imaginative engagement with fictions, to have knowledge of the things they are imagining. I argue that there is at least one class of impersonal third-person fictional narratives-thought experiments-to which Wilson's model fails to apply, and that this reveals more general problems with his argument. I further argue that there is no good reason to think that Wilson's account applies more restrictedly to those impersonal third-person fictional narratives that feature in standard works of literary fiction.

Les figures jouent dans le fantastique un double rôle: au niveau textuel et au niveau fictionnel. L'usage textuel du langage figuré est certes une propriété du discours littéraire en général, une caractéristique plutôt commune des textes littéraires mais aussi une marque stylistique individuelle qui tient au style propre de tel ou tel écrivain. L'intérêt au discours figuré dans le fantastique vient du fait que le fantastique y trouve conjointement sa matérialisation textuelle et fictionnelle. Le discours figuré est porteur de valences à effet spécial dans le récit fantastique, puisqu'il est chargé de mettre devant le lecteur la possibilité de l'impossible, de revêtir le texte d'un manteau magique qui mette le lecteur en contact avec le mystère, l'inexplicable, le bizarre, le magique. Dans ce travail nous allons nous arrêter sur une situation spéciale qui met en jeu la littéralisation du figuré au niveau macrofictionnel où la monstration fantastique devient aussi démonstration fantastique.

The present study is an analysis of Kazuo Ishiguro's dystopian novel Never Let Me Go (2005) from the perspective of narration and revelation techniques. Gustav Freytag's dramatic structure is used in order to shed light on the crucial features of the narrative style of the novel and account for its plot development. With a brief literature review, the basic notions of Freytag's dramatic structure and Marie-Laure Ryan's internal narrative points are introduced and then the analysis itself is provided through plot structure and reviewers' analyses comments on the narrative style of the novel. Freytag's dramatic structure and Ryan's internal strategic points are scrutinized to show how the novel is introduced, constructed with complications to be solved by the reader, and then revealed. The main argument is that Ishiguro involves the manipulation of readers' expectations through presentation, especially by spinning a set of complications and withholding certain information. The revelation part of the novel is teased out by its delicate links with the complications of the story. The conversational construction, the most salient complication of the story, illustrates how the foreshadowing strategy of Ishiguro works. Furthermore, it is discussed that removing context from narration is an important and complementary device for Ishiguro's narrative style.