DOCSLIB.ORG

CHARACTERS' TRANSFORMATIONS in IAN Mcewan's WORKS

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
CHARACTERS' TRANSFORMATIONS in IAN Mcewan's WORKS MASARYK UNIVERSITY FACULTY OF EDUCATION Department of English Language and Literature CHARACTERS’ TRANSFORMATIONS IN IAN McEWAN’S WORKS Diploma Thesis Brno 2007 Written by: Bc. Šárka Smejkalová Supervisor: Mgr. Lucie Podroužková, PhD. Declaration I declare that I have compiled this diploma thesis by myself and that I have used only the sources listed in the bibliography. - - - - - - - - - - - - - - - - - - - - - Šárka Smejkalová 2 Acknowledgment I would like to thank my supervisor, Mgr. Lucie Podroužková PhD., for her kind support, patience and help. The thesis would have been unlikely to arise without her guidance and encouragement. 3 Table of Content Introduction .................................................................................................... 5 1. Ian McEwan, “The Odd One Out”............................................................... 7 2. The Cement Garden ..................................................................................... 11 3. The Innocent ................................................................................................. 28 4. Amsterdam .................................................................................................... 42 Conclusion...................................................................................................... 55 List of Sources................................................................................................ 57 Resumé ……………………………………………………………………... 60 4 Introduction This diploma thesis is focused on one of the most prolific contemporary British novelist and short story writer, Ian McEwan. As the title of the thesis suggests, it targets the characters’ transformations and all the events that influence the fables’ behavior. For this, I have chosen three of the many McEwan’s novels, The Cement Garden (1978), The Innocent (1990) and the 1998 Booker Prize for Fiction winning, Amsterdam (1998) . McEwan’s writing style and interesting unconventional topics of the books cause that he is popular not only among readers but also among critics. In the course of his career, which started in 1975 by publishing his first short stories collection First Loves, Last Rites , he has won many literary prices. Many times, he has proved his unexceptionable writing craftsmanship which makes the reader think, feel sorrow about the characters, get angry at all the circumstances or dream about them. He is not only the great storyteller but also a unique observer. He suitably describes all the things and events that surround the characters, he mentions all the sounds and feelings and depicts every single detail. He is able to take down both losses and victories, amusing events as well as demanding life phases, and still he is able to entertain. He uses not only an ironic or sarcastic language but also beautiful poetic expressions. His writing style gives rise to the feeling that the reader often does not think about the character as about a “convectional use of words” (http://en.wikipedia.org), therefore none existing, but, due to the fact that the author makes them sound really authentic, they might be imagined as real people. In his novels he mainly focuses on white people, particularly British citizens, but sometimes he mentions some other nationalities, such as Germans, Americans, Irishmen or Russians. The register used in his books differs according to social classes appearing in his stories. Reading McEwan’s books, we have an excellent opportunity to discover the secrets of the characters’ psyche, their thoughts and deeds. Despite the fact that all his books are full of demanding moral topics, McEwan does not tend to moralize. At first he allows the reader to absorb the atmosphere of the story and then he leaves upon him or her to judge. Even if all the three novels this thesis focuses to differ with their background share demanding topics such as death, murder, incest, solitude and relationships among people. Despite all these heavy themes: “his prose is controlled, careful, and powerfully concise; 5 he is eloquent on the subjects of sex and sexuality; he has a strong head for the narrative possibilities of science; his novels are no longer than is necessary.” (http://www.believermag.com/). 6 1. Ian McEwan, “The Odd One Out” Ian McEwan was born on 21 June in 1948 in Aldershot, Hampshire, England. He was considered to be the only child, till an unknown man who traced back in the family history discovered that he is McEwan’s brother. Dave Sharp, the bricklayer, is six ears older then McEwan and “was given away at Reading station by his mother, Rose McEwan, nee Wort. She became pregnant from a wartime affair with David McEwan, and gave the child away before her husband returned. When he was killed, Rose married Mr McEwan, and they raised Ian only 15 miles from Mr Sharp's new home.” (http://news.bbc.co.uk) Because of his father who worked as an officer in the army, young Ian lived in many different countries, such as the Far East, North Africa and Germany, which could be the inspiration for his novel The Innocent many years later. After he returned to England he attended Sussex University, which was followed by MA Creative Writing course at the University of East Anglia. He was one of the first students of this course established by Malcolm Bradbury and Augus Wilson. The university itself became popular because of this course and also because of McEwan, after he became an eminent writer. Ian McEwan has been married twice. With his first wife he has two sons, his second wife, Annalena McAffe works as an editor for the Guardian’s Review section. It is interesting that a family does not act an important role in his fiction. The first collection of short stories, First Love, Last Rites , was published in 1975 and was followed by the other collection called In Between the Sheets (1978). After these the first novel The Cement Garden (1978) was written. Following postmodern literary principles: McEwan’s early pieces were notorious for their dark themes and perverse, even gothic, material. Controversy surrounding the extreme subject matter of the first four works [the fourth piece in the raw is The Comfort of Strangers , 1981] , which are concerned with paedophilia, murder, incest and violence, was exacerbated by their troubling narrative framework, the way in which conventional moral perspectives are disrupted or overturned, the reader frequently drawn into prurient involvement with the characters. McEwan’s perpetrator-narrators draw us into complicity with their crimes, whilst his victims seem strangely collusive in their own exploitation and destruction. (http://www.contemporarywriters.com/) 7 In the course of his writing career McEwan has found many readers, and it is the same until these days, who either admire him, or, hate him and call him disgusting, even perverse. From the very beginning of his writing, McEwan has been the author who talks to his readers using his unique, individual language. He also mentions those aspects of British society which were never mentioned in literature before, the “reversed side” of Great Britain’s life. McEwan belongs to the group of authors who bring not only new aspects of reality, but also new artistic advancement. (Hilský, p.139) According to Zadie Smith Ian McEwan should be called “the odd man out” as “he was not like Amis and he was not like Rushdie or Barnes or Ishiguro or Kureishi or any of the other English and quasi-English men.”(http://www.believermag.com/). Kiernan Ryan’s phrase, ‘the art of unease’ (http://www.contemporarywriters.com/) should probably be the most exact comparison which conveys the core of McEwan’s writing style. Besides writing short stories and novels, he also focuses on other genres, such as librettos. His libretto Or Shall We Die? for an oratorio set to music by Michael Berkeley also solves some demanding topics. In his review Christopher Hitchens comments on it and also on McEwan’s previous work: The "first" McEwan was (and is) a thoughtful child of the sixties, somewhat hippie-like in many ways, yet tense and gaunt and ironic behind his granny glasses. Much preoccupied with war and power and hierarchy, he helped to map the "alternative" ethos of those who could at least imagine a world without exploitation or bigotry or sexual jealousy. The summa of this Green and quasi-feminist outlook was to be found in the libretto he wrote for the composer Michael Berkeley, whose oratorio Or Shall We Die? provided a highly sensitive register of the anti-nuclear angst that accompanied the Euromissile debate of the mid1980s. (http://www.theatlantic.com) Not only librettos but also drama, screenplays and contributions to OUP as a literary critic accompany his profession. It is worth mentioning his novels which are not to be discussed in this thesis, e.g. The Child in Time , 1987, Black Dogs, 1992, The Daydreamer , 1994, The Short Stories, 1995, Enduring Love , 1997, Atonement , 2001, Saturday, 2005, On Chesil Beach , 2007 (http://www.contemporarywriters.com/). Even if the works differ in the topic, they are similar due to the masterly used language and the novelist’s ability to describe all the events by his own “sharplysmooth” style that gives them semblance of obviosity and 8 commonness. In Zadie Smith’s words: “he is not a dilettante of even a natural, neither a fabulist nor a show-off. He is rather an artisan, always hard at work; refining, improving, engaged by and interested in every step in the process, like a scientist setting up a lab experiment.” (http://www.believermag.com/).
Load more

Recommended publications
  • The Children Act : a Novel / Ian Mcewan
    Also by Ian McEwan First Love, Last Rites In Between the Sheets The Cement Garden The Comfort of Strangers The Child in Time The Innocent Black Dogs The Daydreamer Enduring Love Amsterdam Atonement Saturday On Chesil Beach Solar Sweet Tooth This book is a work of fiction. Names, characters, businesses, organizations, places, events, and incidents either are the product of the author’s imagination or are used fictitiously. Any resemblance to actual persons, living or dead, events, or locales is entirely coincidental. Copyright © 2014 by Ian McEwan All rights reserved. Published in the United States by Nan A. Talese/Doubleday, a division of Random House LLC, New York, a Penguin Random House company. www.nanatalese.com Originally published in Great Britain by Jonathan Cape, an imprint of the Random House Group Ltd., London DOUBLEDAY is a registered trademark of Random House LLC. Nan A. Talese and the colophon are trademarks of Random House LLC. Ian McEwan is an unlimited company no. 7473219 registered in England and Wales. Jacket design by Michael J. Windsor Jacket illustrations: blood © rangizzz/Shutterstock; texture © Flas100/Shutterstock Library of Congress Cataloging-in-Publication Data McEwan, Ian, author. The children act : a novel / Ian McEwan. — First American edition. pages cm ISBN 978-0-385-53970-8 (hardcover) — ISBN 978-0-385-53971-5 (eBook) 1. Women judges—Fiction. 2. Self-actualization (Psychology) in women—Fiction. 3. Religion and law—England—Fiction. 4. Legal stories. I. Title. PR6063.C4C48 2014 823′.914—dc23 2014018448 v3.1 TO RAY DOLAN Contents Cover Other Books by This Author Title Page Copyright Dedication Epigraph Chapter One Chapter Two Chapter Three Chapter Four Chapter Five Acknowledgments A Note About the Author When a court determines any question with respect to … the upbringing of a child … the child’s welfare shall be the court’s paramount consideration.
    [Show full text]
  • The Concept of Irony in Ian Mcewan's Selected Literary Works
    Univerzita Palackého v Olomouci Filozofická fakulta Katedra anglistiky a amerikanistiky Bc. Eva Mádrová Concept of Irony in Ian McEwan’s Selected Literary Works Diplomová práce PhDr. Libor Práger, Ph.D. Olomouc 2013 Prohlašuji, že jsem tuto diplomovou práci na téma “Concept of Irony in Ian McEwan’s Selected Literary Works” vypracovala samostatně pod odborným dohledem vedoucího práce a uvedla jsem všechny použité podklady a literaturu. V Olomouci dne Podpis I would like to thank my supervisor PhDr. Libor Práger, Ph.D. for his assistance during the elaboration of my diploma thesis, especially for his valuable advice and willingness. Table of contents Introduction 6 1. Ian McEwan 7 2. Methodology: Analysing irony 8 2.1 Interpreter, ironist and text 8 2.2 Context and textual markers 10 2.3 Function of irony 11 2.4 Postmodern perspective 12 3. Fiction analyses 13 3.1 Atonement 13 3.1.1 Family reunion ending as a trial of trust 13 3.1.2 The complexity of the narrative: unreliable narrator and metanarrative 14 3.1.3 Growing up towards irony 17 3.1.4 Dramatic encounters and situations in a different light 25 3.2 The Child in Time 27 3.2.1 Loss of a child and life afterwards 27 3.2.2 The world through Stephen Lewis’s eyes 27 3.2.3 Man versus Universe 28 3.2.4 Contemplation of tragedy and tragicomedy 37 3.3 The Innocent 38 3.3.1 The unexpected adventures of the innocent 38 3.3.2 The single point of view 38 3.3.3 The versions of innocence and virginity 40 3.3.4 Innocence in question 48 3.4 Amsterdam 50 3.4.1 The suicidal contract 50 3.4.2 The multitude
    [Show full text]
  • Download Download
    IJELLH Volume 6, Issue 12, December 2018 73 J.Ramona Asst.Professor of English Bon Secours College for Women India. [email protected] TEMPORAL EXPERIENCES IN THE SELECT NOVELS OF IAN McEWAN Abstract This paper exerts to analyze Ian’s concept of temporal experiences in this postmodern world. Ian’s novels stands out for its highlight on temporality and the tacit exigency to tackle one’s moral identity. McEwan designs his novels as a fictitious narrative based on various themes, using them in hookup with his plots, characters and symbols, to add emphasis to the concepts and the ideas that shape his stories. His themes range from universal to the complex. The overriding temporal frame of his novels are uncanny. Key Words: Temporal, Mundanity, Sacrosanct, Servitude, Ethical Vision. “Temporal and spiritual things are inseparably connected, and even will be.” - Joseph Smith In the light of temporality the author appears to juxtapose the time of mundanity for the characters and a time that is sacrosanct and servitude, thus stressing an ethical vision, IJELLH Volume 6, Issue 12, December 2018 74 possibly beyond what the self – centered British society in this postmodern world can foresee. All the underlying attention to temporal expressions and the prominent zerohour of life only reinforces the author’s call for moral inquiries and search for accountable, ethical stances in an era of transition and deterioration. McEwan continues to explore the impact on ordinary people of unusual or extreme situations, as they face sudden shocking violence or slip into acute psychological states. The Cement Garden is a clear metaphor of dysfunctional mourning of the characters Jack and his siblings.
    [Show full text]
  • Intertextuality in Ian Mcewan's Selected Novels
    1 Intertextuality in Ian McEwan's Selected Novels Assist. Prof. Raad Kareem Abd-Aun, PhD Dijla Gattan Shannan (M.A. Student) Abstract The term intertextuality is coined by poststructuralist Julia Kristeva, in her essay “Word, Dialogue and Novel” (1969). The underlying principle of intertextuality is relationality and lack of independence. In this paper, this technique (intertextuality) will be discussed in Ian McEwan's selected novels. The novels are Enduring Love (1997), Atonement (2001), and Sweet Tooth (2012). Key Words: intertextuality, McEwan, Enduring Love, Atonement, Sweet Tooth. التناص في أعمال روائية مختارة ﻹيان مكيون أ.م. د. رعد كريم عبد عون دجلة كطان شنان أستخدم مصطلح التناص ﻷول مرة من قبل الناقدة جوليا كرستيفا في مقالتها )الكلمة و الحوار و الرواية( عام 1969. إن المبدأ الرئيس خلف التناص هو العﻻقة وعدم وجود اﻹستقﻻلية. وفي هذا البحث، ُدرست هذه التقنية في روايات مختارة ﻹيان مكيون، والروايات هي الحب اﻷبدي )1997( و الغفران )2001( و سويت تووث )2012(. الكلمات المفتاحية: التناص؛ مكيون؛ الحب اﻷبدي؛ الغفران؛ سويت تووث. 2 Intertextuality in Ian McEwan's Selected Novels Ian McEwan (1948) is one of the most significant British writers since the 1970s, this is due his way of the link between morality and the novel for a whole generation, in ways that befit the historical pressures of their time. This makes his novels have a significant form of cultural expression McEwan’s early works are characterized by self – ambiguity in which he is tackling important social themes within the fictional scenario. His early narrative is described as “snide and bored”, or as “acutely dysfunctional or the abusive”, at other times as “inexplicaply lawless”.
    [Show full text]
  • Ian Mcewan's Atonement
    UNIVERZITA PALACKÉHO V OLOMOUCI Pedagogická fakulta Katedra anglického jazyka ANETA VRÁGOVÁ III. ročník – prezenční studium Obor: Anglický jazyk se zaměřením na vzdělávání – Německý jazyk se zaměřením na vzdělávání IAN MCEWAN’S ATONEMENT: COMPARISON OF THE NOVEL AND THE FILM ADAPTATION Bakalářská práce Vedoucí práce: Mgr. Josef Nevařil, Ph.D. Olomouc 2015 Prohlášení: Prohlašuji, že jsem závěrečnou práci vypracovala samostatně a použila jen uvedených pramenů a literatury. V Olomouci (datum) ……………………………………………… vlastnoruční podpis I would like to thank Mgr. Josef Nevařil, Ph. D. for his assistance, comments and guidance throughout the writing process. CONTENTS INTRODUCTION .......................................................................................................... 6 1. BIOGRAPHY OF IAN MCEWAN ...................................................................... 7 1.1. BIOGRAPHY ................................................................................................... 7 1.2. LITERARY OUTPUT ...................................................................................... 8 1.3. AUTOBIOGRAPHICAL ASPECTS ................................................................ 9 2. POSTMODERNISM .......................................................................................... 12 3. COMPARISON OF THE NOVEL ATONEMENT AND THE FILM ADAPTATION ......................................................................................................................... 14 3.1. NOVEL: GENERAL INFORMATION ........................................................
    [Show full text]
  • Postmodern Children and the Cement Garden of Ian Mcewan Réka Vajda [email protected]
    Eger Journal of English Studies XX (2020) 65–76 65 Postmodern Children and THE CEMENT GARDEN of Ian McEwan Réka Vajda [email protected] Postmodern childhood narratives often explore disturbing themes, break social conventions and taboos. In order to comment on this kind of representation, this study will introduce Ian McEwan’s controversial novel The Cement Garden (1978), the story of four children who, in the middle of a particularly hot summer, find themselves orphaned. The novel narrated by fourteen-year-old Jack explores such themes as sexuality, incest, death, the struggles of coming of age, isolation, gender roles and parent-child relationships. Keywords: child, childhood, postmodern, Ian McEwan. 1 Introduction The twentieth century or the “century of the child,” as called by James and Prout (1997, 1), witnessed a great increase in the attention paid to childhood and children. Psychologist James Sully, the author of Studies of Childhood, wrote at the very end of the nineteenth century: “With the growth of a poetic or sentimental interest in childhood there has come a new and different kind of interest. Ours is a scientific age, and science has cast its inquisitive eye on the infant […] we now speak of the beginning of a careful and methodical investigation of child nature.” (1993, 4) He was right. By the 1970s psychologists, sociologists and anthropologists have offered extensive accounts on various aspects of childhood and the child. In 1960 French historian Philip Ariés published his controversial book Centuries of Childhood, in which he questioned some of the existing assumptions about the nature of childhood.
    [Show full text]
  • Enduring Love by Ian Mcewan
    Enduring Love by Ian McEwan A level Student Workbook by Gerry Ellis ~ Wessex Publications ~ CONTENTS Using the Workbook ............................................................................1 1. Ian McEwan - A brief Biography...................................................2 2. Commentary and criticism on McEwan's early work up to ‘Enduring Love’ .............................................................................4 3. 'Mother Tongue' .............................................................................8 4. A brief summary of 'Enduring Love'..............................................13 5. 'Enduring Love' - Chapter by Chapter............................................14 6. De Clerambault's syndrome and 'Enduring Love' ..........................71 7. Two interviews with Ian McEwan on 'Enduring Love'..................73 8. Criticism of 'Enduring Love' ..........................................................80 9. Themes ...........................................................................................87 10. Characters in the novel...................................................................91 11. Essay Questions..............................................................................93 Enduring Love Using the Workbook USING THE WORKBOOK This Workbook examines various aspects of ‘Enduring Love’ and you will be asked to complete Tasks on each of these as you progress through the different sections. All the Tasks are designed to help you look carefully at the novel and to come to an appreciation
    [Show full text]
  • The Sense and Sensibility in Later Novels of Ian Mcewan (Bachelor’S Thesis)
    Palacký University in Olomouc Philosophical Faculty Department of English and American Studies The Sense and Sensibility in Later Novels of Ian McEwan (Bachelor’s thesis) Eva Pudová English Philology - Journalism Supervisor: PhDr. Libor Práger, PhD. Olomouc 2016 I confirm that I wrote this thesis myself and integrated corrections and suggestions of improvement of my supervisor. I also confirm that the thesis includes complete list of sources and literature cited. In Olomouc .................................. I would like to thank my supervisor, PhDr.Libor Práger, PhD, for his support, assistance and advice. Table of Contents Table of Contents .................................................................................................... 4 Introduction ............................................................................................................. 5 1. Ian McEwan ..................................................................................................... 7 2. Other works...................................................................................................... 9 3. Critical perspective ........................................................................................ 11 4. Characters ...................................................................................................... 14 4.1. Realness of the characters ...................................................................... 14 4.2. Character differences and similarities .................................................... 16 5.
    [Show full text]
  • S POST-MILLENNIAL NOVELS ZDENĚK BERAN Ian Mcewan
    2016 ACTA UNIVERSITATIS CAROLINAE PAG. 123–135 PHILOLOGICA 1 / PRAGUE STUDIES IN ENGLISH METAFICTIONALITY, INTERTEXTUALITY, DISCURSIVITY: IAN MCEWAN ’ S POST-MILLENNIAL NOVELS ZDENĚK BERAN ABSTRACT In his twenty-first-century novels, Atonement, Saturday, Solar and Sweet Tooth, Ian McEwan makes ample use of narrative strategies characteris- tic of postmodernist writing, such as metafictionality, intertextuality and discursive multiplicity. This article discusses how this focus distinguish- es his recent novels from earlier ones. Thus Sweet Tooth is read as a text which includes the author ’ s attempt to revise his own shorter texts from the onset of his career in the mid-1970s. The use of parallelisms and alle- gory in McEwan ’ s 1980s novels The Child in Time and The Innocent is then contrasted with more complex strategies in Saturday and Solar. Special attention is given to the thematization of the role of discourse in Solar; it is argued that the novel is not just a satire on modern science and its corrup- tion by commercialization but also a reflection of “ontological relativism” as a product of prevailing contemporary discourse formations. Keywords: contemporary British novel; Ian McEwan; discourse; Foucault; intertextuality; metafiction Ian McEwan ’ s recent novel, Sweet Tooth (2012), reveals the author ’ s proclivity for the use of metafictional writing at its most entangled and transgressive best. After more than three successful decades on the British literary scene,1 McEwan has here offered his 1 The outstanding position of Ian McEwan as one of the most successful contemporary English writers can be documented by the many literary awards his work has received across decades: His early col- lection of short stories First Love, Last Rites (1975) won the Somerset Maugham Award in 1976.
    [Show full text]
  • The Cambridge Companion to Ian Mcewan Edited by Dominic Head Frontmatter More Information
    Cambridge University Press 978-1-108-48033-8 — The Cambridge Companion to Ian McEwan Edited by Dominic Head Frontmatter More Information This Companion showcases the best scholarship on Ian McEwan’s work and offers a comprehensive demonstration of his importance in the canon of international contemporary fiction. His whole career is covered, and the connections as well as the developments across the oeuvre are considered. The essays offer both an assessment of McEwan’s technical accomplishments and a sense of the contextual factors that have provided him with inspiration. This volume has been structured to highlight the points of intersection between literary questions and evaluations, and the treatment of contemporary sociocultural issues and topics. For the more complex novels – such as Atonement – this book offers complementary perspectives. In this respect, The Cambridge Companion to Ian McEwan serves as a prism of interpretation, revealing the various interpretive emphases each of McEwan’s more complex works invite, and shows how his various recurring preoccupations run through his career. is Professor of Modern English Literature at the University of Nottingham, where he served as Head of School, 2007–10. His previous books are The Modernist Short Story (Cambridge, 1992), Nadine Gordimer (Cambridge, 1994), J. M. Coetzee (Cambridge, 1997), The Cambridge Introduction to Modern British Fiction, 1950–2000 (Cambridge, 2002), Ian McEwan (2007), The State of the Novel (2008), The Cambridge Introduction to J. M. Coetzee (Cambridge, 2009) and Modernity and the English Rural Novel (Cambridge, 2017). Also, as editor: The Cambridge Guide to Literature in English, third edition (Cambridge, 2006), and The Cambridge History of the English Short Story (Cambridge, 2016).
    [Show full text]
  • Marketing Transnational Childhoods: the Bio Blurbs of Third Culture Novelists
    Marketing Transnational Childhoods: The Bio Blurbs of Third Culture Novelists Jessica Sanfilippo Schulz Abstract Many contemporary novelists experienced high levels of transnational mobility during their childhood and were thus raised ‘among’ different countries and cultures. Predominantly the offspring of diplomats, business executives, missionaries, military personnel and academics, these writers have compelling backgrounds of transnational and transient childhoods. Third Culture Kid (TCK), coined by the sociologist Ruth Useem, is the term given to this childhood experience. Until 2010, the term TCK was only used by sociologists, anthropologists, psychologists, and cultural educators, but never before by scholars of literary studies. In 2011, Antje Rauwerda adapted this concept and coined the term ‘Third Culture Literature’ to describe the fictional writings by authors who share a ‘cultural background of expatriatism’. For Rauwerda, these novelists do not fit ‘a postcolonial, diasporic or cosmopolitan paradigm’ so that an up-to-date classification is needed for this new ‘subset of international writing’. The purpose of this article is to verify to what extent cultural identities are deployed in the marketing of Third Culture Literature. The article focuses on five contemporary well-known authors (such as Ian Martel and Ian McEwan) who have ‘grown up across worlds’ and analyses over 25 biographical details that are offered to readers by publishers in selected editions of their novels. The biographical details I examine are not only distributed in English but also, for example, in Arabic, Danish, German and Spanish. Not all publishers choose to portray their transnational authors in a ‘global’ light. However, due to the primarily international settings of Third Culture novels, many publishers either adopt the expatriate culture of their authors or adapt their biographies in order to kindle their target audiences.
    [Show full text]
  • David Le Barzic Ian Mcewan Bibliographie © 2001-2003 De David Le Barzic
    David Le Barzic Ian McEwan Bibliographie © 2001-2003 de David Le Barzic LE TEXTE EWANIEN : ŒUVRES DE FICTION Les traductions françaises disponibles sont indiquées entre crochets sous l’ouvrage anglais. Romans The Cement Garden. Londres : Picador (Jonathan Cape), 1978. [Le jardin de ciment. Trad. Claire Malroux. Paris : Points Seuil, 1980.] The Comfort of Strangers. Londres : Picador (Jonathan Cape), 1981. [Etrange séduction (Un bonheur de rencontre). Trad. J. Pierre Carasso. Paris : Points Seuil, 1983.] The Child in Time. Londres : Picador (Jonathan Cape), 1987. [L’enfant volé. Trad. Josée Strawson. Paris : Folio Gallimard, 1993.] The Innocent. Londres : Picador (Jonathan Cape), 1990. [L’innocent. Trad. Jean Guiloineau. Paris : Points Seuil, 1992.] Black Dogs. Londres : Jonathan Cape, 1992. [Les chiens noirs. Trad. Suzanne V. Mayoux. Paris : Folio Gallimard, 1994.] Enduring Love. Londres : Jonathan Cape, 1997. [Délire d’amour. Trad. Suzanne V. Mayoux. Paris : Gallimard, 1999.] Amsterdam. Londres : Jonathan Cape, 1998. [Amsterdam. Trad. Suzanne V. Mayoux. Paris : Gallimard, 2001.] Atonement. Londres : Jonathan Cape, 2001. Nouvelles en recueils First Love, Last Rites. Londres : Picador (Jonathan Cape), 1975. In Between the Sheets. Londres : Picador (Pan Books/Jonathan Cape), 1978. [Sous les draps et autres nouvelles. Trad. Françoise Cartano. Paris : Folio Gallimard, 1997.] Nouvelles hors recueils “Intersection.” Tri-Quarterly 34 (aut. 1975) : 63-86. “Untitled.” Tri-Quarterly 35 (hiv. 1976) : 62-3. “Deep Sleep, Light Sleeper.” Harpers & Queen, (08/1977) : 83-6. Fiction pour enfants Rose Blanche (avec Roberto Innocenti). Londres : Jonathan Cape, 1985 (basé sur un récit de Chrisophe Gallaz). The Daydreamer. Londres : Vintage, 1994. [Le rêveur. Trad. José Strawson. Paris : Gallimard, 1999.] Pièces de télévision et dramatiques The Imitation Game : Three Plays for Television.
    [Show full text]