An Analysis of Ian Mcewan's Saturday from the Perspective of Space
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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”. -
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. -
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. -
Forms and Functions of Houses As Spatial Settings in Select Novels by Ian Mcewan
Forms and Functions of Houses as Spatial Settings in Select Novels by Ian McEwan Diplomarbeit zur Erlangung des akademischen Grades einer Magistra der Philosophie an der Karl-Franzens-Universität Graz vorgelegt von Sonja SAURUGGER am Institut für Anglistik Begutachter: O.Univ.-Prof. Mag.art. Dr.phil. Werner Wolf Graz, 2014 Table of Contents 1. Introduction.....................................................................................................5 2. The Contemporary English Novel and Ian McEwan: A Synthesis of Tradition and Innovation .......................................................................................7 3. The Relevance of Space in Literature: The ‘Spatial Turn’...........................10 4.1. A Fruitful Interdependence: House and Literature........................................................ 13 4.2. Gaston Bachelard and the Poetics of Space: “The house […] is a ‘psychic state’”...... 14 4.2.1. The Vertical Perspective: The House and the Mind......................................... 15 4.2.2. The Horizontal Perspective: The House and its Surroundings ........................ 15 4.2.3. The house as refuge for the inner life............................................................... 17 5. The Great Good Place: The English House and its Garden .........................18 5.1. The Country House as a Literary Symbol..................................................................... 20 5.2. The Country House Overlooking the Garden ............................................................... 21 5.3. -
London Is “Waiting for Its Bomb”: History, Memory, and Fear of Destruction in Ian Mcewan’S Saturday
Wenshan Review of Literature and Culture.Vol 5.2.June 2012.105-134. London is “Waiting for Its Bomb”: History, Memory, and Fear of Destruction in Ian McEwan’s Saturday Chung-jen Chen ABSTRACT Ian McEwan’s Saturday is a Condition of England novel inspired by the collective fear of destruction embodied in the 9/11 terrorist attacks. In this paper I explore the way in which McEwan extends his distinctive engagement with confrontation and destruction through his recollection of historical incidents. McEwan’s strategy in recollecting and measuring fear in historical moments, usually in the form of Henry Perowne’s soliloquies, provides a chance to reflect upon the contemporary moment and to estimate possible developments of current crises. If fear is something unexpectable, unmanageable, and unimaginable, then recalling memories of past fears will constitute a route plan orienting us towards an understanding of what we are now (by knowing what we were before) and what we will become (by excluding what we will not become). This paper attempts to read fear as represented in McEwan’s works in light of risk and fear theories. As this paper argues that fear is unpredictable and unpreventable, it also reveals a social and historical dimension to its complexity. I use Maurice Halbwach’s theory of collective memory critically to clarify McEwan’s representation of fear in this post-9/11 novel, Saturday. Successive resurgences of historical incidents reconvene a post-9/11 traumatic memory. A collective sense of urgency brought about by the lurking presence of past incidents turns out to intensify the presence of pressing dangers. -
A “Culpably Helpless” God: an Examination of Henry Perowne in Ian Mcewan’S Saturday
A “Culpably Helpless” God: An examination of Henry Perowne in Ian McEwan’s Saturday Katherine Pryor April 11, 2013 Department of English Final Thesis The main character of Saturday by Ian McEwan, Henry Perowne, begins his day like a god, observing a disaster from a removed perspective. After mysteriously awakening in the early morning Henry arrives at his window in a strangely euphoric state because he feels abnormally “unencumbered” by emotions (1). His bliss is interrupted, however, by the sight of a burning plane flying over London towards Heathrow. This opening scene establishes Henry as a character who is unsympathetic to the world around him. He delights in his feeling of nothingness and retains a disturbing emotional distance as he watches the plane crash. Henry justifies this remoteness, connected to the description of him as a god, by seeing it as a reaction to the overwhelming demand for his sympathy made by the media. The demands made on his sympathies cause Henry to feel overwhelmed and vulnerable; his response it to carefully choose the people and events who deserve his sympathy, attempting to enact some control over his emotions. He is never able to completely sever himself from the events he does witness, like the plane crash, and feels guilt both because of his inaction during the event and as a replacement for sympathy he is trying to avoid. Guilt initially seems to be an emotion that Perowne can feel and then absolve, making it perfect for the level of control he is trying to maintain. This becomes a pattern in the first half of the novel, emotional distance resulting in guilt. -
On Chesil Beach
ON CHESIL BEACH PRODUCTION NOTES Directed by Dominic Cooke Starring Saoirse Ronan, Billy Howle, Samuel West, Emily Watson and Anne-Marie Duff Adapted for the screen by Ian McEwan from his own novel On Chesil Beach In Australian cinemas August 9. 2018 AUSTRALIAN PUBLICITY REQUESTS: TRANSMISSION FILMS / Amy Burgess / +61 2 8333 9000 / [email protected] IMAGES High res images and poster available to download via the DOWNLOAD MEDIA tab at: http://www.transmissionfilms.com.au/films/on-chesil-beach Distributed in Australia by Transmission Films Running Time: 110 minutes THE CAST Florence Ponting......................................................................................................................................Saoirse Ronan Edward Mayhew.........................................................................................................................................Billy Howle Marjorie Mayhew................................................................................................................................Anne Marie-Duff Lionel Mayhew......................................................................................................................Adrian Scarborough Violet Ponting...........................................................................................................................................Emily Watson Geoffrey Ponting...............................................................................................................................Samuel West THE FILMMAKERS -
Cold War Fictions
5 RICHARD BROWN Cold War Fictions The publication of Sweet Tooth in 2012 confirmed McEwan’s interest in the Cold War themes of global politics and the individual experience, extending them into the 1970s politics of the cultural sphere and forward into the second decade of the new millennium. Its story of woman MI5 agent Serena Frome, assigned to the secret literary project of supporting a writer, Tom Haley, who is not entirely unlike the early McEwan himself, allowed him to perform a self-conscious fictional return to the world of the short stories that had brought his first success, and also to his television play The Imitation Game of 1980, in which secret political history and espionage came centre stage and which also had a female protagonist, Cathy Raine. Sweet Tooth further invited a re-evaluation of The Innocent (1990) and Black Dogs (1992), the two novels which were produced at the time of the fall of the Berlin Wall in 1989 when the Cold War era ended, or at least took on a different shape. In doing so, Sweet Tooth not only reframed the earlier McEwan as a writer of the Cold War decades from the birth of the North Atlantic Treaty Organization (NATO) (1949) to the Fall of the Berlin Wall (1989), but also highlighted his use of certain typical features of that political era as metaphors for an ongoing exploration of human and sexual relations, the nature of fictional representation and the relationship between the writer and the reader in the new century. To contextualize these concerns in McEwan’s career, it is helpful to reconsider the introductions which he wrote to The Imitation Game volume (1981)andA Move Abroad (1989). -
Rationalism and Irrationalism in Selected Novels of Ian Mcewan
Sense and Sensibility: Rationalism and Irrationalism in selected novels of Ian McEwan Submitted by Candice de Canha to the University of The Witwatersrand as a dissertation for the degree of Master of Arts in English Literature, May 2013. Word count: 50 000 words I certify that all material in this thesis which is not my own work has been identified and that no material has previously been submitted and approved for the award of a degree by this or any other University. Date……………………Signature………...……. 1 Abstract Critics have widely assumed that Ian McEwan, being a New-Humanist, advocates rationalism in his novels. In this study I interrogate this assumption by analysing the interplay between “sense” and “sensibility” in his fiction. My dissertation focuses on the themes, language, point of view, narrative structures and symbolism in McEwan’s novels. It has taken the form of a comparative textual analysis and close reading of four of McEwan’s texts which I believe highlight the debate around “sense and sensibility” most explicitly: Enduring Love (1997); Amsterdam (1998); Atonement (2001) and Saturday (2005). The fact that the characters who represent rationalism are always male brings into question the role of gender within McEwan’s novels. Whether McEwan is a realist, modernist or postmodern writer, is another debate that emerges, when studying rationalism in his works. My project therefore addresses the conundrum of whether an author can be both a humanist and a postmodern writer, despite these ideologies seeming irreconcilable. This study examines the ways in which McEwan passes through these seemingly contradictory novelistic discourses, and ultimately rejects the moral indeterminacy of postmodern poetics, proving him to be a polygot writer. -
Narrative Space in Ian Mcewan's Saturday
FNS 2018; 4(2): 359–373 Alenka Koron* Narrative space in Ian McEwan’s Saturday: A narratological perspective https://doi.org/10.1515/fns-2018-0028 Abstract: Although the work of Ian McEwan, one of the most important modern British writers, has been quite thoroughly researched, the narrative space was rarely the subject of narratological treatment. This article tackles a close reading of McEwan’s novel Saturday from a narratological perspective testing the applic- ability of a series of spatial categories systematized by Marie-Laure Ryan in the already existing narratological tradition and in her own research in narrative space. At the macro level of the story, the circular structure of the novel and the concepts of space as a container and space as a network are being shown and so is the use of local names. In the foreground there is a discussion of the five fundamental levels of narrative space (spatial frames, setting, story space and spaces of intertextuality, storyworld, narrative universe), followed by the treat- ment of textualization at the micro level (perspectivism and aperspectivism, map, and tour, and the lived experience of space). The analysis of space representation in Saturday eventually makes it possible to conclude that McEwan promotes the conception of space that became prominent within the spatial turn in postmodern humanities. Keywords: Marie-Laure Ryan, postmodernism, spatial turn Ian McEwan is considered one of the most important contemporary British writers. His work has attracted widespread scholarly interest both with its the- matic diversity and the author’s mastery of the adopted literary techniques and strategies. -
Department of English and American Studies English
Masaryk University Faculty of Arts Department of English and American Studies English Language and Literature Anna Štangelová Depiction of London in Contemporary British Novel: Ian McEwan’s Saturday and Penelope Lively’s City of the Mind Bachelor’s Diploma Thesis Supervisor: prof. Mgr., Milada Franková, CSc., M.A. 2017 I declare that I have worked on this thesis independently, using only the primary and secondary sources listed in the bibliography. …………………………………………….. Author’s signature Acknowledgment I would like to thank my supervisor, prof. Mgr., Milada Franková, CSc., M.A. for her guidance, professional advice and kind encouragement. I would also like to thank my partner and my family who supported me during the writing of this thesis. Table of Contents Introduction ....................................................................................................................... 1 1. Depiction of London in Literature .............................................................................. 3 2. Ian Mc Ewan and Penelope Lively – Brief Introduction ............................................ 6 2.1. Saturday and City of the Mind – Introduction ..................................................... 6 3. Upper-Middle-Class Fitzrovia in Ian McEwan’s Saturday ........................................ 7 3.1. Under the Tower: History and Characteristics of Fitzrovia ................................ 7 3.2. Henry Perowne’s London .................................................................................... 9 4. The Docklands: -
Ian Mcewan: a Novel Approach to Political Communication
University of Calgary PRISM: University of Calgary's Digital Repository Graduate Studies The Vault: Electronic Theses and Dissertations 2014-09-23 Ian McEwan: A Novel Approach to Political Communication Cohen, Naor Cohen, N. (2014). Ian McEwan: A Novel Approach to Political Communication (Unpublished doctoral thesis). University of Calgary, Calgary, AB. doi:10.11575/PRISM/26407 http://hdl.handle.net/11023/1796 doctoral thesis University of Calgary graduate students retain copyright ownership and moral rights for their thesis. You may use this material in any way that is permitted by the Copyright Act or through licensing that has been assigned to the document. For uses that are not allowable under copyright legislation or licensing, you are required to seek permission. Downloaded from PRISM: https://prism.ucalgary.ca UNIVERSITY OF CALGARY Ian McEwan: A Novel Approach to Political Communication by Naor Cohen A THESIS SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTORATE OF PHILOSOPHY GRADUATE PROGRAM IN COMMUNICATIONS STUDIES CALGARY, ALBERTA September, 2014 © Naor Cohen 2014 Abstract Since authors are skilled communicators, novels can help reimagine our communicative motivations and public sphere in a contemporary context. Their fiction can situate politically-conscious narratives in pertinent, culturally salient contexts to reflect and challenge our deepest convictions. In this work I consider three novels by British author Ian McEwan, which show his liberal-communicative thought: Black Dogs, Amsterdam and Saturday. These texts exemplify his aesthetically accomplished and intellectually dense oeuvre. Each novel explores one major theme. Black Dogs addresses historical narratives, concerned with how we integrate past events into our current identities.