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This article discusses the potentials and pitfalls of creating fiction as a social research method, through reflecting on the sociological crime fiction I wrote between 2015 and 2017. Following the ontological premise that our research methods produce rather than represent our objects of investigation, I draw on poststructuralist and feminist thought to demonstrate the process, ethics, and rationale for writing fiction as a method of social research. Drawing on actor-network theory (ANT) approaches, I argue that ‘translating’ research data into artistic forms is particularly productive for poststructuralist approaches to the research of complex and emotive social phenomena like crime. Taking up the concept of ‘enforced narratives’ from the work of Carolyn Steedman, I discuss the ethics of undertaking creative and collaborative research with people who have experienced criminalisation. I argue that sociological crime fiction can reimagine the complexity of crime in ways that does not further punish the criminalised.

This essay examines how narrative structures such as: alternating narratives, unreliable narrators, and literary devices affect the predominant storyline in fiction targeted at young adults. Because On the Jellicoe Road depicts an orphan character’s coming of age, attention is additionally brought to the novel’s portrayal of how identity and identities are displayed in relation to the overall mystery that finding one’s family creates. Drawing on theoretical approaches from Perry Nodelman, Maria Nikolajeva, Laurel Bollinger and Melanie A. Kimball amongst others, the analytical work further considers how a novel’s chosen subject matter or major theme might influence the narratives approach in conveying said theme.

The narrative structure of the novel “Savely’s Days” by G. Sluzhitel is considered. It is determined that a polyphonic system of narrative instances is expressed in the novel, and the relationship between them is established. Methods of creating a subjective versatility of the text have been studied. It is noted that the genre of memories as a whole retains constant features, which include the methods of creating a chronotope. It embodys the image of a hero, while it is the very feature of the protagonist, who is an unreliable narrator, that leads to the transformation of the classical narration of memories and to the emergence of several subject-speech plans. The relevance of the study is due to the need to study the narrative instances and the originality of their relationship in order to comprehend the narrative space of a work of art. The novelty is seen in the fact that the methods of creating the effect of polyphonic narration are determined on the basis of the material of the modern novel. The observation of the modern writer style formation is carried out. It has been proved that the polyphony of narrative images arises in the novel due to the fact that, technically, the story cannot be conducted only from the point of view of the cat-narrator, since this will significantly limit the discourse. The purpose of polyphony is to look at a modern person from different points of view, including a detached one.

The article is about the peculiarities of the realization of memory in Witold Szabłowski's book "Sprawiedliwi zdrajcy. Sąsiedzi z Wołynia" (in the Ukrainian edition: "Кулемети й вишні. Історії про добрих людей з Волині."/"Machine guns and cherries. Stories about good people from Volyn"). Updating the theme of the Volhynian tragedy of 1943, the author created a report about his travels to Volhynia to find Ukrainians who, during the Ukrainian-Polish conflict, saved Poles, often at the cost of their own lives. The research is focused on the mechanisms and reasons for the difference in the Ukrainian and Polish perception of both the book in general and the situations depicted in it (the reader's reception of the book"; the reader's and author's reception of the events depicted in the analyzed book and other sources, in particular in the books of the Ukrainian historian Ivan Pushchuk). It was found that after reading a certain text the effective ability of the recipient to create a perception of that text depends on the reader's experience and other factors, including prospective collective memory, that is, a memory of intentions, which not only recounts past events but at the same time provides a template for future events and experiences (K. Tenenboim-Weinblatt). It is about the phenomenon of narrative unreliability (at the levels of both the testimonies of "informants" – direct participants in the events and the documentarian who records these testimonies) and the idea of the "collective need to forget" (Susan Sontag) as a way of countering modern conflicts that may arise due to historical memory. The concepts listed above taken into account, the article analyzes one of the main documentary stories of the book. That story tells about the fate of Jerzy Krasowski, an officer, lieutenant colonel of the Polish Army, whose biography is inscribed in Polish history as exemplary victorious, and his son Jarema Krasowski, a resident of Russia, who 60 years after the Volhynian tragedy met his father for the first time., У статті йдеться про особливості реалізації феномену пам’яті в книзі Вітольда Шабловського "Sprawiedliwi zdrajcy. Sąsiedzi z Wołynia" (в українському виданні – "Кулемети й вишні. Історії про добрих людей з Волині"). Зосереджено увагу на механізмах і причинах відмінності української та польської рецепції як загалом книги, так і ситуацій, зображених у ній (читацька рецепція книги; читацька та авторська рецепція подій, зображених в аналізованій книзі та інших джерелах, зокрема в книгах українського історика Івана Пущука), на афективній здатності реципієнта на основі прочитаного творити власний текст зі зміщеними акцентами, які залежать від його досвіду та інших факторів, зокрема проспективної колективної пам’яті, тобто пам’яті на наміри, яка не лише переказує минулі події, але водночас забезпечує шаблон для майбутніх подій та досвіду (К. Тененбойм-Вайнблатт). Ідеться про феномен наративної ненадійності (на рівнях як свідчень безпосередніх учасників подій, так і документаліста, який ці свідчення фіксує) та про ідею "колективної потреби забування" (С.Зонтаґ) як спосіб протидії сучасним конфліктам, що можуть виникнути через історичну пам’ять. З огляду на це в статті проаналізовано одну з центральних документальних історій книги, де йде розповідь про долю Єжи Красовського, офіцера, підполковника Війська Польського, чия біографія вписана в польську історію як взірцево звитяжна, та його сина Яреми Красовського, мешканця росії, який через 60 років після Волинської трагедії вперше познайомився зі своїм батьком.

Proza Samuela Becketta isprva je shvaćena kao prikaz egzistencijalističke problematike apsurda i besmisla postojanja, a potom u vidu strukturalizma i naratologije 1960-ih godina počinje se shvaćati kao iscrpni naratološki eksperiment sa formalnim značajkama pripovjednog teksta. Ovaj rad posvećen je Beckettovoj trilogiji romana: Molloy, Malone umire i Neimenjivi, a usput se osvrće i na Beckettovu kratku prozu istoga razdoblja stvaralaštva koja dijeli iste pripovjedne značajke. Baveći se pripovjedačem i njegovom pozicijom na pripovjednim razinama, prostorom i vremenom teksta te pitanjem subjektiviteta od tjelesnosti do pripovjednog glasa, Beckett postepeno razvija pripovjednu problematiku u svakom sljedećem romanu trilogije i na taj način pokazuje sve radikalnije pripovjedne mogućnosti književnog teksta. Rad je podijeljen na tri dijela, baveći se svakim romanom trilogije po redu. Prvi dio rada posvećen je romanu Molloy koji kroz pozicije dvaju nepouzdanih pripovjedača otvara problematiku preklapanja pripovjednih razina, a specifičnom strukturom romana i prostorno-vremenskom neodređenošću uvodi čitatelja u igru naratološkim odrednicama pripovjedne proze u sljedećim romanima. Drugi roman Malone umire strukturiran je tehnikom priče u priči, a naglašena fikcionalnost narativa omogućuje radikalniji pristup pripovjednim elementima književnog teksta. Prostorna ograničenost pripovjedača, materijalnost pripovijednog svijeta te postepena redukcija instancije pripovjedača od tijela prema glasu dovodi do vrhunca naratološkog eksperimenta u trećem romanu Neimenjivi. Napisan u obliku kontinuiranog unutarnjeg monologa posljednji roman opisuje apstraktni prostor pripovjednog glasa bez identiteta, otkrivajući ogoljenu strukturu pripovjednog teksta sastavljenog isključivo od pripovjednih elemenata i pisane riječi ostvarene bestjelesnim pripovjednim glasom, a njegov prostor obuhvaća sve prethodne romane trilogije te ujedno i cijeli Beckettov dotadašnji opus. Samuel Beckett's prose was initially understood as a presentation of the existentialist problem of absurdity and meaninglessness of existence, and then, in the form of structuralism and narratology in the 1960s, it began to be understood as an exhaustive narratological experiment with the formal features of a narrative text. This work is dedicated to Beckett's trilogy of novels: Molloy, Malone Dies and The Unnameable and along the way looks at Beckett's short prose of the same creative period which shares the same narrative features. Dealing with the narrator and his position in narrative levels, the space and time of the text and the question of subjectivity from corporeality to the narrative voice, Beckett gradually develops the narrative problematic in each subsequent novel of the trilogy and in this way shows the increasingly radical narrative possibilities of the literary text. The work is divided into three parts, dealing with each novel of the trilogy in turn. The first part of the paper is dedicated to the novel Molloy, which through the positions of two unreliable narrators opens up the issue of overlapping narrative levels and with the novel's specific structure and spatio-temporal indeterminacy introduces the reader to the game of narratological determinants of narrative prose in the following novels. The second novel Malone Dies is structured using the story-within-a-story technique and the emphasized fictionality of the narrative enables a more radical approach to the narrative elements of the literary text. The spatial limitation of the narrator, the materiality of the narrative world, and the gradual reduction of the narrator's instantiation from the body to the voice lead to the climax of the narratological experiment in the third novel The Unnamable. Written in the form of a continuous internal monologue the last novel describes the abstract space of a narrative voice without identity, revealing the stripped-down structure of a narrative text composed exclusively of narrative elements and written words realized by a disembodied narrative voice and its space includes all the previous novels of the trilogy and, at the same time, Beckett's entire oeuvre to date.

ヨゼフィーネの歌がネズミ族に伝えるものは何か。それは,ネズミ族の実存の根源的な孤独である。孤独を確認することで,個々のネズミは,どのネズミの内部にも「不壊なるもの」が共通に存在することを想起する。「不壊なるもの」とは,子供が持つ素朴な生きる喜びである。ヨゼフィーネの歌を聴くとき,ネズミたちは日頃拠り所にしている実際的分別という武装を解き,互いに一体感を覚える。ここには芸術家と共同体の理想的な関係がある。しかし,この関係は,コンサートが行われている間だけの一時的なものである。ヨゼフィーネは自分の芸術に専念するために,ネズミ族の誰もが行っている日々の労働の免除を求める。しかし,ネズミ族はそれを拒絶する。やがてヨゼフィーネは歌うことを拒否し,民族の前から姿を消してしまう。語り手は,ヨゼフィーネがいなくてもネズミ族は特に困ることはないのかもしれないとコメントする。しかし,作者カフカはそうは考えていない。人々に「不壊なるもの」を思い起こさせ,人々を融和に導くヨゼフィーネを失うことは大きな社会的損失であると確信している。, Im Genuss von Josefines Gesang streifen die Mäuse alles an praktischer Alltagsvernunft ab. Sie werden sich der Einsamkeit ihrer individuellen Existenz bewusst, was sie zur Erkenntnis führt, dass sie eine kindliche, schlichte Lebensfreude im Innern gemeinsam haben. Sie erfahren sich als Gemeinschaft. Kafka spricht vom 'Unzerstörbare. Dieses 'Unzerstörbare' ist aber eben nur während der Vorführung präsent, die Wirkung des Gesangs auf ihre Dauer beschränkt, und der anschließende Rückfall in den Status quo ante des Arbeitslebens so gut wie sicher. Josefine fordert um der Kunst willen eine Befreiung von der täglichen Arbeit. Vom Mäusevolk wird das abgelehnt, worauf sie den Gesang verweigert und verschwindet. Vom Erzähler wird dieser Abgang resignativ kommentiert, von Kafka aber als großer sozialer Verlust bedauert.

教育老年学の領域では、ライフ・レヴューあるいは回想法は、高齢者への有効な学習支援の方法としてとらえられてきた。しかし高齢者の過去の経験が本人にとって「偉業」である場合、過去の偉業に囚われつづけながら高齢期の生活を送る場合がある。またその「偉大な」過去にとって「不利となる」事実は、歪曲・隠蔽されることもあるだろう。Lawrence McCullough は、こうした過去に囚われつつ高齢期を歩むことを arrested aging と命名し、その具体例としてカズオ・イシグロの初期の作品群を取り上げた。しかし、イシグロの作品の主人公はしばしば、過去の回想の不明瞭さと連動した「信頼できない語り手(unreliable narrator)」でもある。 本稿ではイシグロの初期の3作品(『遠い山なみの光』『浮世の画家』『日の名残り』)を題材にして、arrested aging と unreliable narrator の視点から、高齢主人公の回想部分の解読を試みた。その結果、3作品とも主人公が arrested aging の状態にいること、そしてそこでの過去の回想には、隠蔽や歪曲もあったこと(unreliable narrator) が示された。この記憶改ざんに関しては、2作品で会話のかみ合わなさからその片鱗がうかがえたが、『遠い山なみの光』だけは、重要な話題を他者の言動にかこつけて媒介的に回想しているという点が示された。高齢期学習支援においてその回想はきわめて重要な意義をもつものの、これまでの回想法研究・実践が主に療法志向であったため、高齢者の記憶の脚色や歪曲の側面に関しては、これまであまり議論されてこなかった。それだけに、今回得られた知見はきわめて示唆的であったかと思われる。, In the field of educational gerontology, life review of older people is supposed to be an effective way of elder learning facilitation. But if the past experience of older people is supposed to be a “great achievement" for that person, the person can lead one's old day's life always trapped by that experience. Moreover, “unfavorable" experiences for that “greatness" can be distorted or even concealed. Lawrence McCullough named this type of aging as “arrested aging," and he mentioned this type of aging can be portrayed in the early works of Kazuo Ishiguro. And Ishiguro's main character of the novel is also frequently “an unreliable narrator," coupled with the vagueness of the life review. In this essay, using 3 novels of Ishiguro's early works, namely, A Pale View of Hills, An Artist of the Floating World, The Remains of the Day, the author tried to decode the significance of the main aged characters' life reviews from the viewpoint of “arrested aging" and “unreliable narrator." As a result, all the main characters were in the situation of “arrested aging" and their narrations were sometimes falsified or distorted (unreliable narrator). As for the distortion of one's memory, we can detect the distortions from the uneasiness of the main characters' conversations in 2 novels, but in A Pale View of Hills, distortion was detected from the camouflaging of important topics and instead talked those ideas via other person's behaviors. Life review is supposed to be an important vehicle in aiding older learners, but most of the life review works were therapy-oriented, and distortions of the memory were often underestimated. In this meaning, information delineated here was suggestive.

The subject of the article: The article raises several urgent problems of narratology - the question of the «unreliable» narrator in the text, his point of view on the events underlying the history. This paper examines the internal and external point of view in a work with an «unreliable» narrator. A work with an «unreliable» narrator organizes a special point of view on the event hypothesis is put forward. The material is the narrator of V. Nabokov`s story «The Eye». In this text, the narrator's point of view on events, himself in these events and the characters reveals a split into external and internal. The narrator's play with the point of view forms a special type of «unreliable» narrator, which allows the author not only to create an experimental narrative, but also to raise the philosophical problems of memory, self-identification, and consciousness.

The article is a creative portrait of the 2017 Nobel Prize in Literature Kazuo Ishiguro. The author reveals the peculiarities of the author’s prose, his writing style, which makes the work of K. Ishiguro unique against the background of the existing variety of contemporary prose in Great Britain. The Nobel Committee’s decision to award the 2017 Literature Prize to Kazuo Ishiguro, a Japanese-born British writer, has been welcomed by critics and admirers of his work, especially given the publicly controversial awards of previous years. The reasons for this unanimity are obvious. Firstly, Ishiguro’s works are really popular and loved by various readers, both in the UK and far beyond its borders. Secondly, Ishiguro is a writer in the most direct, original sense of the word: he does not engage in politics, does not give interviews on sensitive issues of current international relations, but for several decades now, for several decades, he has published quite regularly, albeit at rather large intervals.

This paper analyzes “Ningún lugar sagrado” (1998) by the Guatemalan writer Rodrigo Rey Rosa as a ‘ficción paranoica’ (“La ficción paranoica”, Clarín, 10 de octubre de 1991; Blanco nocturno, Anagrama, Barcelona, 2010). I will explain that Rey Rosa’s short story does not include univocal clues to identify the protagonist as an unreliable narrator whose overinterpretations give rise to a misrepresentation of the facts. According to my reading of “Ningún lugar sagrado”, the paranoiac features of the main character contribute to the ambiguity of the text that, in fact, never explicitly confirms or discredits his persecutory ideas. Following this line of argument, I suggest that Rey Rosa’s short story narrates an “imaginario de amenaza” (“La ficción paranoica”, Clarín, 10 de octubre de 1991) that, alluding to the climate of repression, intrigues and complicities in postwar Guatemala, generates paranoia –including that of the reader. “Ningún lugar sagrado” points to a more general tendency in recent Central American literature that, from the realm of fiction, highlights the widespread nature of paranoia in the region. Unlike social discourses that discuss the topic, these literary texts make use of narrative techniques that do not necessarily respond to a referential notion of truth (including hyperboles, digressions, irony and narrative ambiguity), when constructing the voice of a paranoiac character. According to my perspective, such narrative techniques lend themselves especially to capturing the alienating dimensions of violence in Central America where paranoia, rather than being a question of truth or exaggeration, constitutes a survival strategy.

Theocritus divides his second Idyll into two roughly equal sections, each punctuated by ten refrains: in the first half, a courtesan named Simaetha describes an ongoing erotic spell that she and her servant are performing and at the same time she enacts it by reciting a series of short similia-similibus incantations; in the second half, she speaks to Selene in the night sky and tells her the story of her brief affair with and betrayal by a handsome young athlete named Delphis. Literary scholars have written much about this poem, but they are more often concerned with the second, confessional half, with its complicated narrative layers and its charmingly naïve and unreliable narrator. Historians of religion and magic, on the other hand, have focussed most of their energies on the first half of the poem, using as comparanda the much later evidence of Roman-era curse tablets (katadesmoi) and late antique magical papyri to make sense of what Simaetha does and says during her long ritual, an approach that was enshrined by Gow in the middle of the last century, when he argued that, because of the conservative nature of these later magical spells, there was little risk of serious anachronism in using them for comparison.

Статья посвящена проблемам перевода художественных произведений, в которых используется относительно новая стратегия повествования - повествование от лица ненадежного нарратора. Актуальность обращения к данной теме обусловлена недостаточной изученностью приема и критериев ненадежного нарратора, а также способов перевода повествования от лица такого нарратора. В статье анализируются особенности данного способа повествования, рассматриваются его основные характеристики, функции и способы лингвистической репрезентации. Исследование проводится на материале романа М. Хэддона «Загадочное ночное убийство собаки» (2003) и его перевода на русский язык, выполненного А. Куклей в 2003 году. Цель исследования заключается в проведении сопоставительного анализа оригинального и переводного текстов с тем, чтобы выявить степень адекватности передачи стилистических особенностей текста и лингвистических особенностей речевого портрета нарратора. Методика исследования включает применение сопоставительного, стилистического, переводческого и контекстуального анализа. В исследовании выделяются следующие группы проблем, представляющие основную сложность для переводчика: проблемы передачи лингвостилистических особенностей речи ненадежного нарратора, проблемы перевода разговорной лексики и проблемы передачи реалий. В каждом рассматриваемом фрагменте текста указаны те или иные особенности языковой личности нарратора, которые могут повлиять на перевод в целом, из чего следует, что их нужно учитывать на протяжении всей работы. В статье анализируются варианты перевода, которые, по мнению авторов статьи, не являются адекватными, поэтому в каждом случае предлагается альтернативный вариант перевода, передающий замысел автора оригинального произведения и являющийся максимально адекватным в соответствии с определенными критериями. В результате делается вывод о наиболее удачной переводческой стратегии, которую следует использовать при переводе художественного произведения, в котором повествование ведется от нестандартного первого лица.

1924年に執筆されたカフカ最後の作品『歌姫ヨゼフィーネ,あるいはネズミ族』は,ネズミの世界における芸術家と共同体の関係を描くことを通じて,芸術の社会的意味を伝える寓話である。本稿は,語り手を「信頼できない語り手」と捉え,語り手の語りの中に含まれる作者の声に注意深く耳をすましながら,この作品のメッセージを明らかにする。厳しい生を生き抜くためにネズミ族がよりどころとしているのは,「抜け目なさ」と呼ばれる実際的分別である。しかし,それは個々人を孤立させるばかりである。ヨゼフィーネの歌は,逆に個々のネズミに平安を与え,幸福な一体感をもたらす。しかし,ヨゼフィーネとネズミ族の間には認識の相違もある。ネズミ族は,自分たちが,子供の面倒を見る父親のようにヨゼフィーネを保護していると考えている。ヨゼフィーネの方は,自分の歌が,ネズミ族に厳しい生に耐える力を与えることで,彼らを守っているのだと考えている。, Das letzte Werk Kafkas, Josefine, die Sängerin oder das Volk der Mäuse (1924), spielt in der Welt der Mäuse, ist also eine Allegorie.Allegorisiert wird die Beziehung zwischen Künstler und Gemeinschaft; zur Diskussion steht die soziale Bedeutung von Kunst. Um im Lebenskampf bestehen und überleben zu können, sind die Mäuse auf einen praktischen Verstand angewiesen: "Schlauheit". Mit dieser Schlauheit geht aber ein Nachteil einher: sie isoliert und vereinzelt.Josefines Gesang gibt den einzelnen Mäusen hingegen ein Solidaritäts und Zusammengehörigkeitsgefühl. Allerdings besteht zwischen Josefine und den Mäusen ein Erkenntnisunterschied. Josefine glaubt, den Mäusen Kraft zu verleihen, um die Härte ihres Lebens zu ertragen, während die Mäuse, unfähig, den Wert ihrer Kunst zu verstehen, vom Gegenteil ausgehen: dass sie es wären, die die zarte Sängerin beschützen.

The corpus of this work consists of the contemporary French novelist Philippe Claudel's book named Monsieur Linh and his child which focuses on the themes of migration, exile, trauma and friendship. In this book, the emigration of an old man who lost his entire family except his baby grandson, to a place where he does not even know its tongue and his experiences are discussed. The events that happen to Mr. Linh who hold on to life for his grandson are narrated by a third singular narrator. Focusing on the protagonist's life, the relationship between reality and fiction is examined through the pair that is "hidden" and "shown" in the novel. Concealing one of the key elements until the end of the novel, the unexpected end of the narrator paves the way for the reader to begin the process of re-understanding the text. However, the story universe of the novel is composed of uncertain time and place markers and this allows the events to address a common consciousness without being reduced to a place or a time. The limited use of character names also supports this notion. Suspending the temporal and spatial framework indefinitely enables the narrative, which transforms into a trans-temporal and trans-spatial structure, to be considered as a novel that reflects the reality of a common memory, not a particular segment. In this study, in order to shed light on the narrative universe of Mr. Linh and his child and to reveal the fiction of the novel, it is aimed to discuss the work within the scope of narrative, reality effect perspectives and fiction theories. The objective of this article is to examine the narrator's unreliability, the realistic feature of fiction, and the anonymization of the temporal / spatial framework of the narrative. In the study which emphasizes the mentioned elements, “possible worlds” and "reality effect" are taken as the basis methods. Within the scope of a qualitative research, an interpretive study is created by following the analysis method of written documents.

The paper comments on our new translations of E.A. Poe’s “The Tell-Tale Heart” (1843) and “The Black Cat” (1843). The introductory section reviews retranslation theories since the birth of the so-called Retranslation Hypothesis. We consider Lawrence Venuti’s idea of retranslation as best fitting our strategy. According to his point of view, each retranslation is, in fact, a reinterpretation. Besides correcting or debating other translations of Poe, we preserved what we thought to be insightful and eloquent in them. Our major objective was to retain the cognitive obstacles, the contradictory meaning of Poe’s prose, rather than to avoid its ambiguity, discrepancies, and repetitiveness. The non-native reader’s verdict, his or her assessment of the narrators’ sanity at the moment of crime and the validity of their post-crime narratives, would largely depend on the translator’s effort to savor both gothic undertones and numerous indications of mental instability in Poe’s tales. Such indications allowed numerous critics to diagnose the narrators with a variety of mental disorders. Another goal of our translations was to savor a distinctiveness of Poe’s prose, its affectiveness – the diction and phrasing of the oral spontaneous speech of “The Tell-Tale Heart” narrator and the penned account given in “The Black Cat”. We made it a point to preserve where possible the authorial syntax and punctuation i.e. the numerous dashes, as well as italicized words and phrases, in order to project a tone of voice and sketch the psychological contours of the characters, especially that of the first narrator, whose pathological reactions could be caused by external or delusory sensory overload.

espanolEntre otros, hay dos recursos narrativos para la construccion retorica de la ambiguedad narrativa; el “narrador no fiable” y el “narratario”. Este articulo estudia la especificidad combinada de los dos procedimientos en el cuento “En un bosque” (1921) del escritor japones Ryunosuke Akutagawa para hacer un acercamiento estetico a la figura del in dubio pro reo y comprender que en la hermeneutica del juez hay un proceso de lectura e interpretacion, distinto al literario, pero que pueden iluminarse comparativamente para reflexionar sobre las pruebas imperfectas de los testimonios en los tribunales y la ambiguedad literaria de los testimonios narrativos, sus respectivas naturalezas y condicionamientos. EnglishAmong others, there are two narrative resources for the rhetorical construction of narrative ambiguity; the “unreliable narrator” and the “fictive reader”. This article studies the combined specificity of the two procedures in the story “In a Bamboo Grove” (1921) by the Japanese writer Ryunosuke Akutagawa to make an aesthetic approach to the figure of in dubio pro reo and understand that in the hermeneutics of the judge there is a process of reading and interpretation, different from the literary one, but that can be illuminated comparatively to reflect on the imperfect evidence of the testimonies in the courts and the literary ambiguity of the narrative testimonies, their respective natures and conditionings.

Cultiver le doute est l’idée centrale autour de laquelle s’articulent tous les éléments de ce projet de recherche création, où j’ai voulu approfondir et mettre en œuvre différents procédés susceptibles de produire une narration empreinte d’incertitude qui laisse libre cours à une variété d’interprétations. Le volet essai, Les contradictions polyphoniques de narrateurs non fiables dans « Asiles de fous » de Régis Jauffret, se concentre sur ce roman représentatif d’une certaine littérature française contemporaine dite « déconcertante ». Asiles de fous constitue un objet d’étude particulièrement intéressant pour aborder la problématique d’un espace interprétatif en tension. La dissonance des voix inhérente à sa forme polyphonique ainsi que la « non-fiabilité » de chacun de ses quatre narrateurs complexifient la lecture, au point où il est littéralement impossible de trouver ancrage dans ce récit hypothétique où tout semble orchestré pour dérouter le lecteur. Fractures multiples, second volet de ce mémoire, est un roman porté par sept voix qui explore l’insoutenable complexité de l’être. Il retrace différentes périodes de l’existence de Jean-Philippe Dumoulin en disséquant ses liens affectifs troubles et ambigus avec sa famille, ses amours et ses amis. Jadis enfant modèle aspirant à une carrière de violoniste de concert, Jean-Philippe adulte s’est plutôt fait connaître comme une sorte de vagabond libertin, tristement célèbre pour ses variations de tempérament et ses épisodes dépressifs fulgurants. Maintenant quadragénaire, il s’est retranché dans une existence quasi ascétique, tout absorbé par ses études doctorales en philosophie psychopathologique. Une rencontre fortuite sera le catalyseur d’une réaction en chaîne qui va l’inciter à renouer des liens jadis significatifs qu’il avait choisi de rompre dans l’espoir de s’extraire de l’enclos de ses conflits psychiques. À l’image d’une courtepointe composée d’étoffes soigneusement choisies pour témoigner de toutes les époques d’une vie, la trame narrative de Fractures multiples se présente comme un amalgame de 37 récits courts qui confèrent à chaque personnage son ton, son motif et sa couleur. Une grande part de l’action est véhiculée sous forme de dialogues nourris par les notions de la polyphonie linguistique, où des voix divergentes s’expriment, s’affrontent, se font écho et s’emboîtent. Il en résulte un jeu de perceptions animé par une quête de vérité toujours fugace, chacun ajustant sa focale pour refléter une réalité confortant sa vision du monde., To cast doubt is the main idea around which revolve all the elements of this research-creation project. My intent was to deepen and experiment with literary principles likely to produce a narrative filled with uncertainty that gives free rein to a variety of interpretations. The theorical part of this project, Les contradictions polyphoniques de narrateurs non fiables dans “Asiles de fous” de Régis Jauffret, is an essay focusing on the novel Asiles de fous by Régis Jauffret, which can be seen as emblematic of a type of modern French literature dubbed “disconcerting”. Asiles de fous constitutes a particularly interesting object of study to approach the problem of an interpretative space in tension. The dissonance of the voices inherent in its polyphonic form, as well as the “unreliability” of each of its four narrators, complicate the reading process to the point where it is impossible to find an anchor in this hypothetical story where everything seems orchestrated to confuse the reader. Fractures multiples, the creative part of this project, is a novel steered by seven voices that explore the unbearable complexity of being. It recollects various phases in the life of Jean-Philippe Dumoulin by dissecting his troubled and ambiguous emotional ties with his family, his lovers, and his friends. Formerly a model child aspiring to a career as a concert violinist, Jean-Philippe grew up to become a promiscuous freeloader of sorts, infamous for his mood swings and dramatic bouts of depression. Now in his forties, he lives almost secluded, entirely devoted to his doctoral studies in philosophical psychopathology. A chance encounter will be the catalyst for a chain reaction that will spur him to rebuild once significant bonds he had chosen to sever in the hope of extricating himself from the enclosure of his psychic conflicts. In the same way that a quilt is made of fabrics carefully chosen to represent different periods of one’s life, the storyline of Fractures multiples is a collection of 37 short stories which give each character its own poetic imagery and undertone. Much of the action is conveyed through dialogues informed by notions of linguistic polyphony, where divergent voices express themselves, confront or echo each other, and interlock. The result is a game of perceptions driven by an ever-fleeting quest for truth, showing how everybody tends to adjust one’s focus to reflect a reality that comforts one’s views., Le présent mémoire de maîtrise contient un roman dans lequel on trouve des adresses courriel fictives. Elles correspondent à des personnages imaginaires, et non à des personnes réelles. Comme dans toute oeuvre de fiction, toute ressemblance avec des personnes réelles est fortuite ou l'effet du hasard. Je vous confirme donc que ce mémoire ne contient aucun véritable renseignement personnel ou confidentiel. Il s'agit de la version du mémoire telle qu'elle a été acceptée par les membres du jury d'évaluation.

International audience; How I Met your Mother (CBS, 2005-2014) is an American sitcom in which Future Ted (the Ted Mosby of 2030) retrospectively tells his two children the story of how he met their mother. It has been described as an innovative sitcom that relies on sophisticated, inventive narrative techniques, both on the audio and the visual channels. The complexity of the narration arises from the unreliability of the narrator as well as time manipulation, among other elements. This paper focuses on the link between the use of innovative techniques to narrate the story – more specifically the repetition of a narrative by an unreliable narrator – and the creation of humour. Particular attention is given to two episodes in which the same story is repeated and reborn each time: The Mermaid Theory (HIMYM 6x11), in which future Ted cannot recall events properly and retells the same story again and again, trying to get it right, and The Ashtray (HIMYM 8x17), in which Future Ted provides embedded narratives, which turn out to be the same story told from three different points of view.; How I Met your Mother (CBS, 2005-2014) est une sitcom américaine dans laquelle Futur Ted (le Ted Mosby de 2030) raconte rétrospectivement à ses deux enfants l’histoire de sa rencontre avec leur mère. Cette sitcom a été qualifiée d’innovante, notamment parce qu’elle s’appuie sur des techniques narratives sophistiquées et inventives, tant sur le plan sonore que sur le plan visuel. La complexité de la narration découle du manque de fiabilité du narrateur ainsi que de la manipulation du temps, entre autres éléments. Cet article se concentre sur le lien entre l’utilisation de techniques innovantes pour raconter l’histoire – plus particulièrement la répétition d’un récit par un narrateur peu/non fiable – et la création d’humour. Une attention particulière est accordée à deux épisodes dans lesquels la même histoire est répétée et renaît à chaque fois : The Mermaid Theory (HIMYM 6x11), épisode dans lequel Futur Ted ne peut se souvenir correctement des événements et raconte la même histoire encore et encore et essaie de retrouver ce qui s’est passé, et The Ashtray (HIMYM 8x17), épisode dans lequel on retrouve la même histoire racontée de trois points de vue différents, sous forme de récits enchâssés.

Bu çalışma, postkolonyal anlatıbilim çerçevesinde, Wilkie Collins’in romanında varolan anlatıbilimsel yönleri ve araçları, temsil edilme konusuna odaklanarak keşfetmeyi amaçlamaktadır. Postkolonyal anlatıbilim, anlatısal inceleme kapsamında dikkatini periferal ve ötekileştirilmiş olana yönelterek anlatının iç ve dış sınırlarını sorgular. Bu bağlamda, bu çalışmada odak merkezinde yer alan karakterlerin temsil edilmesi ile, çoklu anlatıcılar veya temsilci seslerin yanısıra zımni yazarın ve yazarsal okuyucunun işlevleri hakkında bazı görüşlere yer verilecektir. Aytaşı’nda çoklu-yerelliğe yer verilmesi, sömürgeci/sömürgeleşmiş arasındaki ilişkileri temel alan marjinalleşme konusunu öne çıkarmaktadır. Romanda, uzamsal yazınbilim doğrultusunda yerlerin çokluğuna rağmen, anlatı söylemi bunların bir kısmına öncelik vererek diğerlerini dış sınırlara yerleştirmektedir. Anlatıda uzam kavramı, hikayenin arka planını oluşturan yer unsuru gibi pasif, durağan ya da hilesiz olmaktan ziyade aktif, akışkan ve bir amaca yöneliktir. Anlatının zamansal-uzamsal yönlerinin yanısıra, karakterlerin anlatıbilimsel sunumları da temsil konusu ve güç dinamikleri açısından son derece önemli bir rol oynamaktadır. Benzer şekilde, açıkça görülmektedir ki, yanlızca mekan ve karakterlerin betimlemesi değil, aynı zamanda çoklu anlatıcılar ile yazarsal okuyucuların yerleşimi de Aytaşı’ndaki emperyal ideolojilerin işlenmesine ortak katkı sağlamaktadır. Anlatıcılar, zımni yazarın tasarısı kapsamında, yaptıkları anlatım işinde tutarlı veya tarafsız olmaktan ziyade kusurlu ve ideolojik olarak konumlanmışlardır. Romandaki tüm bu anlatıbilimsel göstergeler anlatının daima söylemsel bir iş olduğunun kanıtıdır., This study explores narratological aspects and tools that are employed in WilkieCollins’s The Moonstone within the framework of a postcolonial narratology. Postcolonialnarratology directs its attention to the representation of the peripheral and themarginalized within the scope of narratorial investigation. There will be someconsiderations regarding the representation of focal and voiceless characters, thefunction of the implied author, authorial audience as well as multiple narrators orrepresenting voices. The deployment of multitopicality in The Moonstone brings forththe issue of marginalization predicated on colonizer/colonized relationships. Spatialpoetics in the novel functions in a way in which despite the myriad of settings thatconstitute the story, narrative discourse privileges some places while putting theothers into the peripheries. The concept of space in the narrative proves to be active,fluid and purposeful rather than being passive, static or innocent as in the status ofa background setting. Alongside temporal-spatial aspects, narratological presentationof the characters also plays a fundamental role in relation to power dynamics andthe issue of representation. In the same vein, it is manifest that not only the descriptionof space and characters but also the placement of multiple narrators and authorialaudience concurrently contribute to the treatment of imperial ideologies. As part ofthe implied author’s scheme, the narrators’ act of narration is flawed and ideologicallyloaded rather than consistent or neutral. All these narratological clues in the novelattest to the idea that narration is always a discursive act.

Within the larger scope of life narratives, illness narratives occupy a significant space both as honest expressions of often silenced, marginalized experiences and medically important accounts of how illnesses manifest in individuals. However, their sensitive nature necessitates that they are subjected to the overwhelming expectations of authenticity, evidence, and agency in order to be seen as legitimate. Lauren Slater’s illness memoir Lying: A Metaphorical Memoir (2000) challenges these expectations by constructing its narrative through lies, metaphors, and an apparent dismissal of the conventional autobiographical pact. This approach acts as a deconstruction of both the expectations of life narratives and how they specifically manifest in the perception of illness narratives. As Slater makes a different pact that prioritizes emotional truth over factual events, she asserts her agency and presents an authentic, candid, and multifaceted account of chronic illness that refuses to offer a conventional, digestible, marketable story of triumph against adversity.

This essay identifies a type of narrative dissonance in the depictions of working-class conditions within Elizabeth Gaskell’s Mary Barton: A Tale of Manchester Life and George Orwell’s Down and Out in Paris and London. In this thesis, the dissonance is argued in part to be the effect created when an author belonging to one social class attempts to portray a class separate from their own. According to Marxist views, class constructs are well-defined and exist in opposition to one another. As such, there is a distinction between describing circumstances while viewing from outside and portraying conditions from within a class consciousness one does not share. The contrast between these perspectives introduces a discordant element into the narrative which interferes with a reader’s immersion. Furthermore, instances of both intranarrational and extratextual unreliability exacerbate the peculiar sense of dissonance when those elements conflict with the experiences of the reader. Understanding and sympathizing with the experiences of the Other, while beneficial in many regards, should not be conflated with knowledge of their lived experience. In order to establish this distinction, a close reading of the books, highlighting examples, is utilized. Additionally, by way of further explanation, Althusser’s concept of “internal distantiation” is used to define conflicting class viewpoints as a contributing factor to the dissonance perceived.

Рассказчик-ребенок является одним из вариантов ненадежного рассказчика, которого с читателем разделяет определенная дистанция. Данная дистанция позволяет рассказчику-ребенку выступать в роли остраняющего повествующего субъекта. Прием остранения обеспечивает новую точку зрения, а также может создавать комический эффект. A child narrator is one of the variants of an unreliable narrator, who is distanced from the reader. This distance allows such a narrator to act as a narrating subject of defamiliarization. The defamiliarization technique provides a new point of view, and can also create a comic effect.

Roman Otroške stvari Lojzeta Kovačiča (1928–2004), ki je izšel leta 2003, in roman Otroštvo Nathalie Sarraute (1902–1999), ki je izšel leta 1983, imata številne vzporednice. Poleg mnogo zgodbenih, ki se nakazujejo že v njunih naslovih, je v romanih prav tako veliko pripovednih: modernistična poetika, pripovedni opis in dialog kot sredstvi posedanjenja pripovedi, fragmentarnost, esejizacija in nezanesljivi pripovedovalec, izhajajoč iz zožanega horizonta otroške perspektive. Druži ju tudi žanrska opredelitev, saj sta oba modernistična avtobiografska in družinska romana. Pisatelja se v njiju s poetiko fragmenta vživljata v zgodnje otroštvo. Razlikujeta se v materinjenju bioloških mater in ostalih oseb, ki opravljajo skrbstveno-vzgojne naloge v procesu odraščanja protagonistov, na kar se bom osredotočila v svojem diplomskem delu. Numerous parallels exist between the novel Things of Childhood by Lojze Kovačič (1928–2004), which was published in 2003, and the novel Childhood by Nathalie Sarraute (1902–1999), which was published in 1983. Besides the numerous story parallels, which are evident already in the titles of both novels, the two novels also feature narrative parallels: modernist poetry, narrative description and dialogue as a means of updating the story, fragmentariness, essayisation and the unreliable narrator stemming from the narrow perspective of a child. They also share the same genre, as both are modernist, autobiographical and family novels. The authors relive their childhood through fragmentation in poetry. They differ in the maternity of biological mothers and other characters that perform tasks of nurture and upbringing in the process of growing up of the protagonists, which will be the main focus of my thesis.

L’ironia e il soprannaturale, due aspetti del Furioso collegati l’uno all’altro, sono state tra le questioni più studiate dalla critica ariostesca degli ultimi anni. Una delle tesi che è stata proposta riguarda l’«insegretimento» dell’ironia nel Cinquecento. Più o meno consapevolmente rimossa dai primi lettori del Furioso, l’ironia sarebbe stata riscoperta e valorizzata solo diversi secoli dopo, mettendo noi lettori di oggi in una posizione migliore per apprezzare i procedimenti attraverso cui il Furioso raggiunge i suoi effetti ironici e il particolare statuto del soprannaturale che caratterizza il poema, per capire quindi ciò che c’è di “ariostesco” in Ariosto. Il presente contributo riesamina il problema della specificità dell’Orlando furioso sia dal punto di vista delle caratteristiche testuali sia da quello del modo in cui sono state notate nel tempo e si propone di dimostrare che la comprensione di un determinato aspetto del testo non coincide necessariamente con l’adeguatezza degli strumenti teorici utilizzati per descriverlo., Recent Ariosto scholarship focused extensively on the interrelated questions of irony and the supernatural in the Orlando Furioso. Especially influential has been the idea of the “burial” of Ariostan irony in the sixteenth-century. More or less consciously repressed in the first part of the reception history of the Orlando Furioso, irony would be rediscovered only several centuries later, putting us today in a better position than the one that Ariosto’s contemporaries had to appreciate the strategies of the Furioso for producing irony and the specific form of the supernatural in the poem – that is, to highlight the Ariostan elements in Ariosto. This essay reconsiders the problem of the specificity of the Orlando Furioso from the points of view of both the textual features of the poem and the way in which these characteristics have been noted in the reception history, and it aims at showing that the recognition of specific aspects of the text does not necessarily coincide with the adequacy of the theoretical tools that are used for their description.

Diplomsko delo se ukvarja z analizo izbranih pripovednih struktur v romanu Kristiana Novaka Cigan, ampak najlepši. Obravnava se sprva osredotoči na kulturni, družbeni, geografski in deloma zgodovinski kontekst, na katerega se nanaša roma. Pomembnost obravnavanega konteksta v nadaljevanju podpre natančna analiza časa in predvsem prostora zgodb romana. Drugi del diplomske naloge posebno pozornost namenja pripovedovalcu, pri čemer kot skupno lastnost pripovedovalcev pričujočega romana, ki se jih sicer loteva posamično, posebej izpostavlja funkcijo nezanesljivega pripovedovalca. Diplomsko delo roman Cigan, ampak najlepši nazadnje analizira še z vidika pripovedovanca, fokalizacije in paratekstov, pri čemer izpostavi naslov romana, vmes pa se analiza dotakne drugih pomembnih vidikov, ki zaokrožujejo obravnavo, to so kratka biografija, romaneskni opus avtorja in avtorski komentarji o njem, vsebina romana, zunanja zgradba, žanrska sinkretičnost in jezik v romanu. The undergraduate thesis deals with the analysis of storytelling structures in Kristian Novak's novel Gypsy, But the Fairest of Them All. The discussion initially focuses on cultural, social, geographical, and partly historical context to which the novel refers. The importance of this context is further supported by a detailed analysis of the time and space of the story of the novel. The second part of the undergraduate thesis pays special attention to the narrator, emphasizing the function of unreliable narrator. The research lastly analyses novel Gypsy, But the Fairest of Them All from the perspective of the narrataire, focalization and paratexts. The work also includes other important aspects such as a short biography, novelistic opus of the author, and Novak's commentaries of his literary work, the external structure, the genre syncretism and the language of the novel.

Medieval German literature had a deeper impact on Thomas Mann than is typically assumed. The comparison between Wolfram’s von Eschenbach Parzival and Thomas Mann’s The Magic Mountain illustrates this influence. Nearly 700 years separate both novels, nevertheless, they show amazing parallels. Especially as their narrators are very much alike. Both appear exposed in their stories, utilise Wolfram’s Bogengleichnis, and are unreliable. In addition, they both reflect on their narrations as literary constructs. While Wolfram’s narrator defends his protagonist Parzival for his misdeeds Mann does not bother to do so for Hans Castorp. The heroes and other characters are comparable, but develop differently. Parzival gains knowledge and his identity, whereas Hans Castorp loses both. Parzival fails his first encounter with the grail. Castorp, in contrast, wins a deep insight into life in his Schneetraum; but forgets it immediately. Castorp is as foolish as Parzival when he begins his journey. He is, however, not a grail-quester although Howard Nemerov concludes this in his 1939 dissertation. Yet, the Magic Mountain seems strongly influenced by Parzival. But while the characters in Parzival seek to help the central protagonist, egoism is predominant in the Magic Mountain, the hero stagnates and fails to successfully finish the hero’s journey.

Trying to find the roots of the current post-truth era, one possible path of origin presents itself when it comes to the literary tradition: the unreliable narrator. How does this phenomenon project itself in such a particular place between fact and fiction, occupied solely by literary autobiographies? Eudora Welty and Tom Robbins, two prominent 20th century literary personas, provide a detailed account of their journey towards self-realization in two connected, yet very different ways. Their memoir and autobiography provides a detailed map of this journey. We can hence speak of positive trauma when it comes to recollection of successful literary careers. Imagination, memory and choice all play an important part in this unique narratives’ creative process. Understanding the relationships between these elements provides even more understanding when it comes to unreliability and our own perception of reality. What are the specific details of memory the authors put down on paper in order to make sense of their creative lives? How do we spot their importance? What role does memory play in the creative process of these authors? How do they approach imagination? What is their relationship with their own narrators and protagonists, a.k.a. themselves? Can we trust it? Dare we trust it? And if so, how do we do it as readers? All these questions are to be addressed and discussed in the following article.

This article reveals the definition of “narration”, which is closely related to such categories as “narrator” and “types of narration”. The characteristics that influence the types of narration are analyzed. Scientists pay attention to the narrator’s awareness, his/her presence in the novel, his/her attitude to other characters, and according to that identify the types of the narrator. The form and type of narration of the modern American novel “Gone Girl” by G. Flynn influences the creation and revealing of heros’ images. The narrators describe the same events from their own points of view. The first person narrative, as a rule, creates an atmosphere of confidential conversation; however, the opposite perception is formed through the type of narration chosen by the author from the first person of two unreliable narrators.

The paper reviews various interpretations of the novel by F. Scott Fitzgerald in both Russian and American critique. A conclusion is made that the idealization of the protagonist is the result of a long tradition of treating Jay Gatsby as both a victim of circumstances and a romantic dreamer. The social context of the time and the place is not adequately assessed, although it determines the character of the central figure of the novel. Fitzgerald’s famous book not only renders the charm of the Jazz Age, but reveals the seamy side of American life in the 1920s. American press of that time was full of news of mafia wars, racket, money laundering, bootlegging, wide-spread corruption of politicians closely connected with the criminal world. The echo of these events is quite audible in “The Great Gatsby”. The paper is, in fact, an enquiry aimed at revealing the real character of Jay Gatsby. It traces his evolution – from a penniless officer who after returning from Europe to New York City agreed to work for the mafia – one of the leaders of a criminal gang. The combination of artistic imagination and historic facts requires an untraditional analysis – searching for clues, juxtaposing facts and dates, checking the words of witnesses and weighing different versions of events described in the novel. The quality and exactness of translation also come under scrutiny: the translation of the novel made by E. Kalashnikova sometimes deviates from the original, which does not help the reader to get an adequate idea of Gatsby’s true nature.

The article explores procedures used for the rendition of alliteration in the novel Pnin written by Vladimir Nabokov (1957). Two target texts will be compared. The first one is the Polish translation prepared by Anna Kolyszko (1987), the second one is the Russian version done by Sergey Ilyin (1993). The analysis of the texts will draw on research into three major thematic areas: proper names, appearance and feelings/emotions where an accumulation of alliteration is distinctly noticeable. These fields are linked by the focal character, a Russian emigre who comes to America after the Russian Revolution. His oddness and eccentricity are constantly emphasized by the unreliable narrator, whose speech abounds in alliterations. In the original this device not only reinforces the narrator’s orality but also structures the image of the focal character. In the target texts alliteration is subject to various formal modifications. In many cases it is substituted by onomatopoeias, consonances, descriptive equivalents or it is simply abandoned. As a result, the translators do not always preserve the alliterative effect (especially when it comes to proper names, feelings and emotions). Translation procedures applied by the translators allow them to achieve partial equivalence on the semantic level. Inaccuracies in this field are visible in examples referring to Pnin’s feelings and emotions in which alliterative word strings are omitted and semantically distant counterparts are used.

Cataloged from PDF version of article. Thesis (M.S.): Bilkent University, Department of Philosophy, İhsan Doğramacı Bilkent University, 2021. Includes bibliographical references (leaves 37-38). This thesis investigates whether we can learn from fiction. First, I analyse accounts of how we understand fiction and of the concepts that need to be analysed. Then I look more specifically at accounts that suggest we can learn from works of fiction. I argue that these accounts are unsatisfying and focus instead on a literary device, unreliable narration, from which I argue we can derive a better account of how we learn from fiction. I offer an analysis of a literary device called unreliable narration. Afterwards I suggest that this literary technique can provide a different way of learning from fiction. Finally, I argue that what my analysis of unreliable narration suggests is that through this device, fiction can help us learn and practice scepticism as an epistemic virtue. by Fatma Zehra Vural M.A.

If “Man” is an unreliable narrator then “Bartleby, the Scrivener: A Story of Wall Street,” perhaps the most scrutinized story in American literature, is an apt choice for a close reading in and of the Anthropocene. “Bartleby” dramatizes the bad faith of humanism as the bad faith of capitalism, and invites speculation about oceans, islands, and becoming rock. Humanism’s discourse of worlds as islands has often been animated by a desire for mastery if not management, a levee for the fear of the nonhuman and inhuman. Our Lawyer’s strange Manhattan story, his island narrative of a visitant copyist, is a haunting of Wall Street by Wall Street. Taking “Bartleby” as an urtext of American global thought, this chapter will close read close readings of “Bartleby” - what has come to be called the “Bartleby Industry” - and offer its own entangled reading of the story, using metaphor to assert the importance of materiality. Without falling into a facile reading of a text as a prescription for philosophical or ecological ills, literature is still, as Kafka had it, “the axe for the frozen sea inside us.” The inhospitality of “Bartleby, the Scrivener: A Story of Wall Street” is a dramatization of the corporeality of the geologic and the geology of embodiment that makes a larger place for the inhuman inside us. If we can “stay,” as Kathryn Yusoff has it, or tarry with the idea of Anthropocene, close reading itself becomes both a means and an end. It is an insistence on knowledge’s, on science and literature’s, entanglement with ethics and a reminder of the politics of measurement.

Impossible fictions are valuable evidence both for a theory of fiction and for theories of meaning, mind and epistemology. This article focuses on what we can learn about fiction from reflecting on impossible fictions. First, different kinds of impossible fiction are considered, and the question of how much fiction is impossible is addressed. What impossible fiction contributes to our understanding of "truth in fiction" and the logic of fiction will be examined. Finally, our understanding of unreliable narrators and unreliable narration in fiction needs to accommodate stories that, on the face of it, cannot possibly be true.

This thesis is a comparative study on the novels Lolita by Vladimir Nabokov and Notes on a Scandal by Zo�� Heller. The main protagonists are examined, in pairs, in order to better understand the terms ���victim��� and ���victimiser��� and how one person can, according to their environment, be the one, the other or even both. The thesis provides an overview of the two novels and examines two main themes, the narrator���s unreliability, a literary device originally coined by Wayne Booth, and power relations, a theory introduced by Michel Foucault. In the first part of the thesis, with the help of the unreliable narrator���s literary device, it was examined how the narrators use their unreliability in order to hide their madness and obsessive behaviours from their readership and to legitimize the crime of pederasty. In the second part, with the help of the power relations theory, the relations between the main protagonists and the minors, as well as the rest of the characters, were examined and analyzed based on societal and gender based criteria, and this thesis proved that the power relations the victimisers form differ because of their place in the patriarchal society., �� �������������� �������� ������������������ ������ ������ �������������������� ������������ ������ ���������������������������� Lolita ������ Vladimir Nabokov ������ Notes on a Scandal ������ Zo�� Heller. ���� ������������ �������������������������� ������ ���������� ���� ������������������ ���� ����������, �������� �������� ���� ���������� �������� ������ �������������������� �������������� ���������� ���������� ������������ ������ �������������� ������ ���� ���������� ������������������ ������ ������ ����������, �������������� ���� ������ ���������������������� ������ ������������, ������������ ���� �������������� �������� ���� ����������, �������� ���� ��������������, �������� ������ ���� ������. �� �������������� ���������������������� ������ ���������������������� ���������������� ������ ������ ���������� ������ ���������������� ������ ������������������ ����������, ������������ ������ ������������������������ ������ ��������������, �������� ������ �������������������� ������ ������ Wayne Booth, ������ ������ �������������� ����������������, ������ ������������ ������ Michel Foucault. ������ ���������� ���������������� ������ ����������������, ���� ������ �������������� ������ ������������������������ �������������� �������� �������������������������� ������ ��������������, �������������������� ���� ������ ���� ���������������� �������������������������� ������ ������������������������ �������� ������ ���� �������������� ������ ���������� ������ ������ ������������������ �������� ������������������������ ������ �������� ��������������������, �������� ������ ������ ���� ���������������������������� ���� �������������� ������ ����������������������. ������ �������������� ����������������, ���� ������ �������������� ������ �������������� �������� 3 �������������� ����������������, ���������������������� ������ �������������������� ���� �������������� ������ ������������������������ ���� �������������������������� ���� �������� ������������������, �������� ������ ���� �������� �������������� ��������������������, ���������� �������������������� ������ �������������� ������������������, ���� ���������������������� ������ ���� �������������� ���������������� ������ ���������������������� ���� ���������� ������ ���������� ���������� �������� ������ ���������� ������ ���������������� ���� ���������� �������� ���������������������� ����������������.

Trabajo de fin de Grado. Grado en Filología Hispánica. Curso académico 2020/2021, El siguiente trabajo trata de ofrecer un análisis de la figura de la narradora de la novela Mejor la ausencia (2017) de Edurne Portela con el objetivo de delimitar los parámetros de fiabilidad de su discurso. Este proyecto parte de la necesidad de responder a la pregunta de si narradores-protagonistas con un restringido conocimiento de la diégesis de los relatos que narran, como lo son el narrador niño y adolescente, se adaptan o no a las características del denominado “narrador no fidedigno”. Para ello se ofrece el caso de Amaia Gorostiaga, una narradora-protagonista cuya voz narrativa parte de la infancia y atraviesa la adolescencia. En primer lugar ofreceremos una definición del concepto de narrador no fidedigno o sospechoso tal como lo propone Wayne C. Booth en su obra The Rethoric of Fiction (1961) y se aclarará el concepto de “autor implícito” y su estado actual en el ámbito de la teoría de la narrativa por lo que tiene de instancia narrativa indispensable para comprender el alcance del narrador no fiable. Delimitado esto, analizaremos la configuración del discurso de la narradora-protagonista. Esta tarea partirá de un breve apunte sobre la escritora de nuestra novela, Edurne Portela. A este le seguirá una observación sobre la configuración de la estructura narrativa de Mejor la ausencia con la que daremos paso al análisis de las posibles limitaciones epistemológicas y lingüísticas presentes en el discurso de la narradora Amaia. A continuación se ofrecerá un estudio comparado de casos en él se partirá de la clasificación de los distintos narradores no fidedignos propuesta por Riggan (1981) y con el que se buscará equiparar el grado de fiabilidad presente en el discurso de Amaia Gorostiaga con el de Huckleberry Finn, el personaje del que Mark Twain y narrador no fiable de Las aventuras de Huckleberry Finn (1884)., The following dissertation tries to offer an analysis of the figure of the narrator in the novel "Mejor la ausencia" (2017) by Edurne Portela with the aim of delimiting the parameters of reliability in her discourse. This project proceeds from the need to answer the question whether or not narrator-protagonists with a restricted knowledge of the diegesis of the stories they narrate, such as the child and adolescent narrator, adapt to the characteristics of the so-called "unreliable narrator". To this end, we offer the case of Amaia Gorostiaga, a narrator-protagonist whose narrative voice starts from childhood and goes through adolescence. First of all, we will offer a definition of the concept of unreliable or suspicious narrator" as proposed by Wayne C. Booth in his work "The Rethoric of Fiction" (1961) and we will clarify the concept of "implied author" and its current status in the Narrative Theory field as an indispensable narrative instance to understand the scope of the unreliable narrator. After having defined such concept, we will analyze the configuration of the narrator-protagonist's discourse. This task will begin with a brief note on the writer of our novel, Edurne Portela. This will be followed by an observation on the configuration of the narrative structure of "Mejor la ausencia" which will lead us to the analysis of the possible epistemological and linguistic limitations present in Amaia's discourse. Afterwards, we will present a comparative case study which will start from the classification of the different unreliable narrators proposed by Riggan (1981), and then we will analyse and compare the degree of reliability present in Amaia Gorostiaga's discourse with that of Huckleberry Finn, Mark Twain's character and unreliable narrator from "The Adventures of Huckleberry Finn" (1884).

In 2017, Vox journalist David Robert used the term 'tribal epistemology' – borrowed from anthropology – to describe a tendency for certain groups, in our current 'post-truth' environment, to trust information which is 'evaluated based not on conformity to common standards of evidence or correspondence to a common understanding of the world, but on whether it supports the tribe’s values and goals and is vouchsafed by tribal leaders'. In the Netflix Original series The OA (2016 -), Prairie Johnson – played by series co-creator and writer Brit Marling - is such a leader, however the knowledge she gives her tribe, that the universe is in fact a multiverse and that inter-dimensional travel is possible, emancipates them, even from her own leadership. Convinced of Prairie's claims, the tribe becomes focused on what Brian McHale calls 'problems of modes of being' (10) as does the series: Prairie may be an unreliable narrator. McHale identifies this preoccupation as a characteristic of postmodernist fiction which is distinguished from its modernist predecessor by a shift from 'an epistemological dominant to an ontological one' (10). Where tribal epistemology of the type Roberts identifies resolves problems of being and knowing by uniting them in a subjectivity guaranteed by what Max Weber termed 'charismatic authority', Prairie's tribe, each of whom has been disenfranchised from normative society, are given agency by the knowledge they acquire which empowers them to become more than mere followers, particularly when they start to doubt her. In Nietzsche's terms, they become who they are; as the series is set in a multiverse, this becoming involves engaging with multiple modes of being: a tribal ontology rather than epistemology.\ud In this paper, drawing on the aforementioned sources, as well as the work of theorists including Deleuze and Guattari, Michel Foucault, Judith Butler, Jodi Dean and Shoshanna Zuboff, I will discuss the 'tribal ontology' of The OA in the context of current debates pertaining to the social construction of both knowledge and identity. Significantly, a member of Prairie's tribe, Buck, is transgender as is the actor who plays him, Ian Alexander, who also plays himself in the second season finale where the previous events of both seasons are implied to have all been a 'series within a series'. I argue that this episode's deployment of metafictional techniques and the series' use of the trope of the multiverse are ultimately utopian in motivation, calling for a corresponding social multiplicity in the actual world which overflows 'tribal' boundaries and removes the need for an epistemology guaranteed by charismatic authority.\ud Works Cited\ud \ud McHale, Brian, Postmodernist Fiction. London: Methuen, 1987.\ud \ud Roberts, David, 'Donald Trump and the rise of Tribal Epistemology', Vox [online], May 19th, 2017. \ud Available at: https://www.vox.com/policy-and-politics/2017/3/22/14762030/donald-trump-tribal-epistemology \ud Last accessed: March 29th, 2019.

Magistrska naloga se ukvarja s pripovednimi postopki, ki so uporabljeni v sodobnih romanih Generalka za pekel (1971) Doris Lessing, Dihati moraš, to je vsa skrivnost (1989) Janice Galloway, Milovanje (1998) Nine Kokelj in Igranje (2012) Stanke Hrastelj. Literarna dela s številnimi pripovednimi postopki podpirajo upodobljene duševne motnje protagonistov. Shizofrenija, depresija, anoreksija nervoza in alkoholizem so prikazani predvsem s personalnim (in večinoma prvoosebnim) nezanesljivim pripovedovalcem. Razdrobljenost njihovih zavesti je ponazorjena s fragmentarno pripovedjo, ki je ponekod lirizirana. Pripoved prekinjajo vloženi odlomki različnih besedilnih vrst, v dveh romanih pa najdemo značilnosti scenarizacije. V romanih prevladuje notranji govor v Generalki in Igranju sledimo notranjemu monologu, roman Dihati moraš je napisan v obliki toka zavesti, v Milovanju pa se pojavlja doživljeni govor. Dialogi v romanih odsevajo družbeno kritiko, saj ljudje, niti zdravniki, ne dojemajo resničnosti duševnih motenj. V nasprotju z literarnimi osebami je bralec do protagonistov empatičen, ker so njihove izkušnje prikazane iz njihove lastne perspektive. The thesis engages in narrative techniques that are used in contemporary novels Briefing for a Descent into Hell (1971) by Doris Lessing, The Trick is to Keep Breathing (1989) by Janice Galloway, Milovanje (1998) by Nina Kokelj and Igranje (2012) by Stanka Hrastelj. The literary works with many narrative techniques support the depiction of the protagonists with mental illnesses in the stories. Schizophrenia, depression, anorexia nervosa and alcoholism are shown predominantly through the personalized (and mostly first person) unreliable narrator. The partition of their consciousness is depicted through a fragmented narrative, which in some parts includes lyrization. The narrative is interrupted by inserted fragments from different text genres, in two novels we can also find characteristics of a screenplay. In the novels the inner speech prevails in Briefing and Igranje we follow the interior monologue, the novel The Trick is written as a stream of consciousness, while the free indirect speech appears in Milovanje. The dialogues in the novels reflect social criticism as people, even doctors, do not comprehend the reality of mental illnesses. The reader is on the contrary empathetic towards the protagonists, since their experience is shown from their own perspective.

An unreliable narrator (prisoner of madness, full of lies...) is one of the most powerful weapons an author can use. As we shall see, the effects multiply when that writer is Edgar Allan Poe. On the other hand, or in addition, if there is something that can delight more than reading Poe, that is teaching Poe. His narrators, those that appear in stories like "The Tell-Tale Heart" or "The Black Cat" offer a magnificent example for our project. Mentally unstable, despite their (intended?) intentions of reliability, these narrators often move away subjectively from the facts. That is why these stories will be part of the corpus of narratives that we present here. 2019-20

Shostak argues that in Viet Thanh Nguyen’s Pulitzer Prize-winning novel The Sympathizer (2015), a white, Western father’s failure to recognize his “illegitimate,” “half-breed” son allegorizes the untold Vietnamese story of the Vietnam War in American fiction of the postwar period. She explores the manner in which the unnamed, unreliable narrator, son of a French missionary and a Vietnamese woman he raped, uses his doubleness/duplicity to construct a riddle of sameness/otherness within the discourse of his life story, allowing Nguyen to illuminate the problem of representation at the core of the violence perpetrated against the Vietnamese, deprived of authority over their identities and traumatic histories. Shostak’s chapter traces Nguyen’s thick texture of allusion to American high and popular culture, within which the narrator rewrites the novel of recent American history through irony and parody – in a kind of displaced oedipal patricide – as revenge against and reparation for misrepresentation and lack of recognition.

The Sound of his Horn presents two worlds—the world that the protagonist Alan originates in (TAW1) and a counterfactual dystopian world that Alan travels to (TAW2). TAW1 is set between 1941 and 1946 and can be conceived as an epistemological extension of our actual world. TAW2 is set 102 years after Hitler wins the war and so far removed from a reader’s experience of the actual word, that it challenges readers’ conceptualisation of this world. The text further complicates this by presenting Alan as a potential unreliable narrator. In this chapter, I show how the concept of RK-worlds can be used to posit how readers determine the plausibility TAW2 and as such also decide whether or not Alan is unreliable. In doing so, I also explore how Possible Worlds Theory deals with unreliable narration to demonstrate the manner in which readers process multiple worlds with seemingly different ontological statuses created within a text.

An unreliable narrator (prisoner of madness, full of lies...) is one of the most powerful weapons an author can use. As we shall see, the effects multiply when that writer is Edgar Allan Poe. On the other hand, or in addition, if there is something that can delight more than reading Poe, that is teaching Poe. His narrators, those that appear in stories like "The Tell-Tale Heart" or "The Black Cat" offer a magnificent example for our project. Mentally unstable, despite their (intended?) intentions of reliability, these narrators often move away subjectively from the facts. That is why these stories will be part of the corpus of narratives that we present here. 2019-20