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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. -
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 -
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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. -
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 ........................................................ -
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. -
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. -
Glimpses of Id Domination and Abreaction in Ian Mcewan's First
DOI: https://doi.org/10.24113/ijellh.v8i1.10333 Glimpses of Id Domination and Abreaction in Ian McEwan’s First Love, Last Rites Shivani Singh Research Scholar Department of English and Foreign Studies Dr.Shakuntala Misra Rehabilitation University Lucknow, Uttar Pradesh, India [email protected] Abstract First Love, Last Rites, a collection of short stories by Ian McEwan was published in 1975. This was the first work written by McEwan that consist eight short stories with estranged and perplexed themes. Ian McEwan received a mixed reaction of criticism as well as appreciation by the readers. The stories are usually of fifteen to twenty pages with the following titles – “Solid Geometry”, “Homemade”, “Last Day of Summer”, “Cocker at the Theatre”, “Butterflies”, “Conversation with a Cupboard Man” and “First Love, Last Rites” and “Disguise”. The author has also included a short story named after the title of his collection. There are numerous aspects in the stories where either the narrators or the protagonists talk about their suppressed emotions or fulfilled desires without being concerned about the societal norms and environment around them. This paper will analyse eight short stories of McEwan in light of the psychoanalytical terms, ‘Id Domination’ and ‘Abreaction’. www.ijellh.com SMART MOVES JOURNAL IJELLH ONLINE ISSN: 2582-3574 PRINT ISSN: 2582-4406 Vol. 8, Issue 1, January 2020 87 Keywords – Id, Abreaction, First Love Last Rites, Psychoanalysis, Ian McEwan “Culturally, we are neither puritanical nor ‘liberated’. Just profoundly confused”. -Ian McEwan (First Love, Last Rites xii) Ian McEwan was born in 1948 in the British military town of Aldershot. -
BIBLIOTECA DELLA RICERCA DIRETTA DA GIOVANNI DOTOLI CHRISTOPHER WILLIAMS (Università Di Bari)
BIBLIOTECA DELLA RICERCA DIRETTA DA GIOVANNI DOTOLI CHRISTOPHER WILLIAMS (Università di Bari) CULTURA STRANIERA IAN McEWAN’S THE CEMENT GARDEN 66 AND THE TRADITION OF THE CHILD/ADOLESCENT AS ‘I-NARRATOR’ In the literary history of the English-speaking world, the theme of childhood was largely ignored until the Romantics. Of course, childhood had often been the subject of Elizabe- than lyrics, but in the Elizabethan drama, the main body of Augustan verse, and the 18th century novel, the child was CHRISTOPHER WILLIAMS generally absent or played at most a peripheral role. Although the rationalist school had consistently shown an interest in theories of education, it “seldom considered 1 the nature of the child as a child” . Children were perceived as small adults (they were even forced to dress like mini- ature adults), and it was believed that, through training, their IAN McEWAN’S THE CEMENT GARDEN infantile ways could be transformed into the moral and ra- AND THE TRADITION tional perfection of regulated childhood. As a tabula rasa, OF THE CHILD/ADOLESCENT AS ‘I-NARRATOR’ the child had everything to gain from the beneficent influ- ence of education; conversely, the adult – teacher, writer or parent – had precious little to learn from the child. The growing reaction against this rationalist, perfection- Estratto da ist idea, and the belief in the supremacy of Feeling over LE TRASFORMAZIONI DEL NARRARE Reason, led to a progressive concentration of interest upon the child in the second half of the 18th century. Atti del XVI Convegno Nazionale Rousseau, more than any other philosopher, was to influ- Ostuni (Brindisi) 14-16 ottobre 1993 ence the intellectual climate in which Blake, Wordsworth and Coleridge wrote. -
Geographies of Gender: Social Politics of the Partner Dance Venue
UC Merced UC Merced Previously Published Works Title Geographies of Gender: Social Politics of the Partner Dance Venue Permalink https://escholarship.org/uc/item/7gg089tx Author Kaminsky, David Publication Date 2021-06-28 Peer reviewed eScholarship.org Powered by the California Digital Library University of California Kaminsky, David. 2020. “Geographies of Gender: Social Politics of the Partner Dance Venue.” Dance Research 38 (1): 25-40. / 25 Geographies of Gender: Social Politics of the Partner Dance Venue DAVID KAMINSKY The typical partner dance venue will have a standardised layout conducive to the space’s function as a marketplace in which attendees can display their own bodies as commodities. Dancers in the venue will have invested time and money in training, clothing, and grooming to demonstrate the value of their bodies according to the dance’s typically heteronormative standards. The reward for successful marketing is physical access to other similarly well-marketed bodies. The social enforcement of this system occurs primarily at the moment between songs, when large numbers of attendees engage in a simultaneous process of partner selection. Keywords: Couple dancing, socialization, commodification, embodiment, space, heteronormativity. The dance floor will ideally be large enough to contain the crowd comfortably, but not so large as to inhibit a certain intimacy. It will be smooth and not too grippy, with a little bit of give. Hardwood is generally ideal.1 In all likelihood, the floor will adjoin one or two outer walls of the building. It will gain the air of centrality, however, in part due to its size relative to other parts of the space, and in part as a function of being framed on one or more sides by inward-facing chairs (and sometimes tables). -
Ian Mcewan, Atonement / Joe Wright, Atonement
Ian McEwan, Atonement / Joe Wright, Atonement Communications présentées lors de la journée d’étude organisée le 12 janvier 2018 à l’Université Paul-Valéry Montpellier 3 par la SEAC (Société d’Études Anglaises Contemporaines) et EMMA (Etudes Montpelliéraines du Monde Anglophone), avec le soutien du Département d’anglais de l’Université Paul-Valéry Montpellier 3 ; réunies par Catherine Bernard (Université Paris-Diderot) et Christine Reynier (Université Paul-Valéry Montpellier 3) Cécile Beaufils (Université Paris-Sorbonne) ‘”Moving gently through her thoughts, as one might explore a new garden”: the Gardens of Atonement’ p. 2-11 Elsa Cavalié (Université d’Avignon) et Adèle Cassigneul (CAS) ‘”Unseen, from two stories up”: Watching, Seeing and Understanding in Atonement’ p.12-22 Christophe Gelly (Université Clermont Auvergne / CELIS EA 1002) ‘Intertextuality and reflexivity in Joe Wright’s Atonement’ (2007) p. 23-31 Christian Gutleben (Université Nice Côte d’Azur) ‘A Cracked Construction: Postmodernist Fragmentation and Fusion in McEwan’s Atonement’ p. 32-41 Georges Letessier (Université de Nantes) ‘”As into the sunset we sail. An unhappy inversion”: The Sense of Destiny in Atonement’ p. 42-53 Laurent Mellet (Université Toulouse Jean-Jaurès) From The Go-Between (L. P. Hartley, Joseph Losey) to Atonement (Ian McEwan, Joe Wright): Intertextual and Interfilmic Aesthetics p. 53-66 Pascale Sardin (Université Bordeaux Montaigne) ‘Heterolingualism and interpretation in Atonement : Traduttore, traditore?’ p. 67-78 Sara Thornton, Université Paris Diderot Of Attics and Mad (Wo)men: The Strange Case of the Victorian House in Atonement’ p. 79-92 Pascale Tollance (Université Lumière-Lyon2) “To everyone”, “To whom it may concern”: The letter which/for which one cannot answer in Atonement (Ian McEwan and Joe Wright) p. -
Escape Into Innocence: Ian M C E Wan and the Nightmare of History MARC
Escape into Innocence: Ian McEwan and the Nightmare of History MARC DELREZ I love my work and my children. God Is distant, difficult. Things happen. Too near the ancient troughs of blood Innocence is no earthly weapon. GEOFFREY HILL, "Ovid in the Third Reich" (61) .LOURING THE PAST twenty years, Ian McEwan has made a name for himself, amidst the rising generation of British novel• ists, as one of the more serious and unrelenting analysts of evil in our time. He appears to turn his back on postmodernism (in Fredric Jameson's terms, as a culture of pastiche, depthless inter- textuality, and hermeneutic break with the real) to concentrate on the more unpalatable business of looking the beast of history straight in the eye. Black Dogs, McEwan's latest novel, includes a visit to the concentration camp in Majdanek, which possibly epitomizes the writer's long-lasting concern with the various categories of the depraved and the fallen. Ever since the publica• tion of his two volumes of short stories, McEwan's taste for the morbid has been noted, sometimes with a caveat about the obsessive nature of his fascination with the abyss; in Black Dogs, the least that one can say is that the dogs of the tide (two demonic creatures, allegedly trained by the Gestapo to sexually assault human victims) attest to a measure of thematic continuity in the work. The novelty, however, may lie in the novel's ambition to achieve a wider purchase on society at large, to provide a pan• orama of some social and historical scope, which contrasts with the more domestic dramas played out in The Cement Garden ( 1978) or The Comfort of Strangers ( 1981 ). -
Intertextual Echoes: Violence, Terror, and Narrative in the Novels of Ian Mcewan and Graham Swift
INTERTEXTUAL ECHOES: VIOLENCE, TERROR, AND NARRATIVE IN THE NOVELS OF IAN MCEWAN AND GRAHAM SWIFT by Robyn Sharlene Padwicki B.A., The University of British Columbia Okanagan, 2006 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS in The College of Graduate Studies (Interdisciplinary Studies) THE UNIVERSTIY OF BRITISH COLUMBIA Okanagan July 2008 © Robyn Sharlene Padwicki, 2008 ii Abstract Numerous studies have pointed to the historiographic and metafictional aspects of Ian McEwan’s and Graham Swift’s fiction, although few have examined the connections between McEwan and Swift. This study develops from that work by proposing that McEwan’s and Swift’s fictions explore similar themes, beyond those of just history and metafiction. By situating McEwan and Swift as postmodern writers who are strikingly intertextual, in the sense initially coined by Julia Kristeva, this study will show that both authors are deeply concerned with the violence of the twentieth and early twenty-first centuries, and the role that violence has played in the failure of metanarratives, as well as the resulting terror subjects face as they seek replacements for the personal authenticity, legitimacy, and meaning once provided by totalizing metanarratives. This study also illustrates that McEwan and Swift recognize the persistence of the metanarrative of science, as well as the psychic violence inherent in trying to replace metanarratives with received literary traditions. By developing on these ideas, this thesis argues that McEwan and Swift are actively engaged not only in exploring the anxiety subjects face as they realize there is nothing left upon which they can base their personal legitimacy, but also that the authors are suggesting there is no easy replacement for the lost, albeit fictitious, authenticity once situated in metanarratives and received genres.