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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 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

This paper examines the narrative and stylistic strategies at work in Emma Healey's Elizabeth is Missing (2014) to render the condition implied by Alzheimer's disease. At the beginning of the novel, because she has forgotten what has recently happened to her friend Elizabeth and can just see in the present that “Elizabeth is missing”, Maud starts an inquiry, convinced that something amiss has happened to her friend. In Maud's mind, this investigation combines with that of her sister's unexplained disappearance shortly after the second world war. Maud is however stalled in her double project of investigation because of her developing dementia. This paper first considers the use of conceits belonging to detective fiction in Healey's novel before exploring the role and impact of the first-person narrator. Finally, it tries to establish if the detour by detective fiction and the reference to the historical past of post-war Britain provide the means for a stabilizing closure., Si la maladie a toujours été présente en littérature, de nouvelles affections ont récemment fait leur entrée dans la fiction anglophone fiction. Tel est le cas de la maladie d'Alzheimer et autres formes de démence qui perturbent le fonctionnement normal du cerveau dont notamment la mémoire des individus. Cet article se concentre sur Elizabeth is Missing (2014) d'Emma Healey (traduit en français par Corinne Daniellot sous le titre L'oubli). Au début du roman, parce qu'elle a oublié ce qui vient d'arriver à Elizabeth et qu'elle constate seulement l'absence de son amie (“Elizabeth is missing”), Maud entreprend une enquête. Dans l'esprit de Maud, cette investigation se combine à un autre, concernant la disparition inexpliquée de sa sœur juste après la seconde guerre mondiale. Maud est cependant contrariée dans sa double quête par l'avancée de sa mémoire déficiente. Nous examinerons en détail les stratégies narratives et stylistiques mises en œuvre, parmi lesquelles le recours au roman de détection et le choix d'un narrateur à la première personne, pour rendre compte du processus de l'oubli et de ses enjeux.

The Desire of Nowhere – Nadine Gordimer’s Burger’s Daughter in a Transcultural Perspective The article marks an attempt to read the book Burger’s Daughter by Nadine Gordimer from the transcultural perspective. Gordimer is one of the most famous South African novelists and an active anti-apartheid activist, hence her novels already have a plethora of analysis. However, the use of transcultural perspective would introduce into the existing critical outlook the more general issue of the struggle for freedom from any cultural and societal ties imposed on the individual. Although the local political situation is an important background for Gordimer’s book, the article situates its key issue in a possibility of creating a space of individual freedom, i.e. space situated beyond the cultural and societal entanglements that seem to resemble the transcultural endeavor. Conceptualization and expression of a space of ultimate liberation is a difficult venture, as the main tool of a literary text – language – is culturally bounded. However, transcultural literature, phenomenon just entering into the sight of literary research, displays the creative strategies of undermining the language in literary creation, i.a. the pluralization of narrative voices, the introduction of the unreliable narrator, extensive use of irony, multinational settings of the storyline. This article is an attempt to detect some other literary strategies of creating space beyond words and beyond culture. The analysis underlines how the use of visual strategies help to decenter the narrative voice and to actuate the text into the transcultural movement. It also exposes the importance of first-person narration in the performative process of distancing to oneself – appearing to herself as “a place where things happen”. Finally, the article detects the crucial gestures – moments of increased tension, both visual and deeply personal, that lead beyond the text to the experiences of “life itself”, i.e. blood, agony, and death. Pragnienie nigdzie – Corka Burgera Nadine Gordimer w perspektywie transkulturowej Artykul zestawia ksiązke Nadine Gordimer Corka Burgera z „pragnieniem nigdzie” („the desire of nowhere”), odczytanym przez autorke w perspektywie transkulturowej. Gordimer to jedna z najbardziej rozpoznawanych poludniowoafrykanskich pisarek i aktywistek anty-apartheidu. Sytuacja polityczna Poludniowej Afryki jest tym samym waznym tlem jej ksiązek. Mimo to, kluczowym problemem tworczości autorki wydaje sie byc bardziej uniwersalne poszukiwanie przestrzeni indywidualnej wolności jednostki. Podjeta przez Gordimer refleksja nad „pragnieniem nigdzie” w swojej istocie przypomina transkulturowe poszukiwania przestrzeni znajdującej sie poza kulturą, choc odmiennie rozklada akcenty. Wyrazenie przestrzeni wolności od kultury w literaturze nie jest latwe, jako ze jej podstawowe narzedzie – jezyk – jest mocno zapośredniczone kulturowo. Dlatego tez, literatura transkulturowa posluguje sie zestawem kreatywnych strategii podwazania jezyka, e.g. poprzez pluralizacje glosow, wprowadzenie narratora niewiarygodnego, intensywne uzycie ironii lub miedzynarodową lokalizacje narracji. Artykul jest probą znalezienia innych metod wyrazenie tego, czego nie moze oddac jezyk. Prezentowana analiza powieści Gordimer skupia sie na uzyciu wizualnych strategii, ktore pomagają zdecentralizowac narracje i nadac tekstowi transkulturową dynamike. Refleksji poddany zostaje takze performatywny proces dystansowania sie narratora do wlasnego „ja” – pojawiania sie sobie jako „miejsce, gdzie coś sie dzieje”. W konsekwencji, artykul dochodzi do analizy kluczowych „gestow” – momentow intensywnego napiecia narracyjnego, ktore poprzez wykorzystanie motywow krwi, agonii oraz śmierci, prowadzą czytelnika poza tekst, az do doświadczenia „samego zycia”.

RESUMO: Este estudo visa à análise da utilização de um recurso literário no cinema: o narrador não confiável. A apropriação cinematográfica do narrador – elemento épico por excelência – engendrou algumas mudanças significativas desse recurso, haja vista as diferenças entre a sétima arte e a literatura, e as necessidades de adequação aos gêneros. No entanto, essa apropriação também manteve traços essenciais das diversas espécies de narrador tão estudadas na ficção escrita. Isto posto, propõe-se uma investigação do narrador não confiável no filme Anticristo, de Lars von Trier, à luz de um narrador literário: Bento Santiago, do romance Dom Casmurro, de Machado de Assis. Não obstante a distância temporal, espacial e genérica (no sentido de gêneros literário e cinematográfico), a aproximação desses narradores elucida questões interessantes, como por exemplo a crítica proposta pelas obras e o modo com o qual ela se relaciona com os seus respectivos públicos. PALAVRAS-CHAVE: narrador não confiável, ponto de vista, foco narrativo. __________________________ ABSTRACT: This study aims to analyze the use of a literary mechanism in cinema: the unreliable narrator. The cinematic appropriation of the narrator – an epic element par excellence – produced significant changes of this narrative resource, as there are differences between literature and the seventh art, and there is a need of adjustment according to each genre. Nonetheless, this appropriation also has maintained essential aspects of the multiple sorts of narrators, which are studied in writing fiction. Therefore, it is proposed an investigation of the unreliable narrator of the movie Antichrist, by Lars von Trier, in the light of a literary narrator: Bento Santiago, from the novel Dom Casmurro, by Machado de Assis. Despite the temporal, spatial and generic (in the sense of different genres, the literary and the cinematographic) distance between the movie and the novel, the comparison of these two narrators clarifies interesting issues, such as the critique proposed by these works and the way in which it relates to their respective audiences. KEYWORDS: unreliable narrator, point of view, perspective.

Novels by the Nobel Prize winner in literature 2017 K. Ishiguro are analyzed chronologically, from the first novel A Pale View of Hills (1982) to the latest one The Buried Giant (2015). As the article shows, the author, who represents two cultural traditions, the Japanese and the British ones, reflects this quality in his works. The writer himself states that his works were mainly formed by the European literary tradition and, consequently, his novel The Remains of the Day has become a concentrated study of Englishness, one of the most vivid in contemporary British literature. Experimenting with traditional literary forms, Ishiguro uses the stream-of-conscience technique, elements of science fiction, fantasy, detective genres, but each of his novels is unique and is characterized by deep overtones. Some constant elements of the writer’s works are discussed: unreliable narrators, the opposition of memory and history, the special role of children and of old people in his novels, the significant role of periods before and after historic events that are omitted in his novels, and recognizable language and style – compact, reserved and precise.

Traumatic narratives differ from traditional ones by defying chronological structure. Often, victims of trauma are unable to recall their trauma, and it is then present in their narratives only symptomatically. This article argues that the structure of A Gesture Life lends itself to an interpretation based on trauma theory. The narrator, Hata, is revealed as traumatized through an analysis of his evasive voice, the counter-narratives presented by other characters, and the novel’s disjointed chronology. It is concluded that like victims of trauma, Hata seeks to make up for the absence of the events that caused him to become traumatized through a fictional narrative. However, through the intrusion of his trauma and through the voices of K and Sunny, who both oppose the narrative he attempts to confine them in, his narrative is ultimately revealed as a method of repression to both himself and the reader.

The Good Soldier: A Tale of Passion (TGS) by Ford Maddox Ford is one of the earliest examples of the Modernist Period in English Literature. Written in 1915 and set just before the Great War, the novel is about two couples, an aristocratic English couple (Edward and Leonora Ashburnham) and a wealthy American couple (John and Florence Dowell), who meet at a spa in Nauheim, Germany in 1904. John Dowell, as the involved first-person narrator, tells the story that revolves around Edward’s and Florence’s inability to remain faithful to their partners, Edward’s love affair with several women, Edward’s refusal to give up his idealized dream of living as a Victorian gentleman, and John Dowell’s struggle with how to interpret and narrate all these events. Although the themes of the novel are like typical Victorian issues, unlike its Victorian predecessors, the novel lacks omniscient narration and depends on frequent shifting of emotional impressions and views of its narrator. Thus, what makes the novel interesting and its interpretation difficult is the unconventional narrator who brings impressionistic storytelling into play as a narrative technique, and who, for the readers, offers this method as an alternative to changing social order, personal integrity and conventional novel form. The aim of this paper is to discuss how Dowell’s unreliable narrative technique creates a mimetic illusion which makes the reader an active participant in Dowell’s writing of the story., Ford Maddox Ford'un İyi Asker: Bir Tutku Hikayesi adlı eseri İngiliz Edebiyatında Modernist Dönemin en erken örneklerinden biridir. 1915'te kaleme alınan ve Birinci Dünya Savaşı'nın hemen öncesinde geçen roman, 1904 senesinde Almanya'nın Nauheim kentindeki bir kaplıcada yolları kesişen biri aristokrat İngiliz (Edward ve Leonora Ashburham), diğeri ise varlıklı Amerikan (Florence ve John Dowell) olmak üzere iki farklı çifti konu edinmektedir. Katılımcı birinci şahıs anlatıcı konumundaki John Dowell, Edward ve Florence'ın partnerlerine sadık kalmadaki başarısızlıklarını, Edward'ın farklı kadınlarla yaşadığı ilişkileri ve bir yandan da Viktoryen beyefendisi olma idealinden vazgeçmemekte diretmesini merkezine alan hikayeyi aktarmaktadır; ancak John Dowell aynı zamanda tüm bu olan biteni nasıl yorumlayacağına ve okurlara nasıl anlatacağına karar vermek için mücadele vermektedir. Romanda benimsenen temalar Viktorya dönemi romanındaki tipik meselelere benzese de, Viktorya dönemindeki öncülerinin aksine, romanda tanrısal bakış açısı bulunmamakta ve roman anlatıcısının duygusal izlenimleri ve bakış açılarında sıkça meydana gelen değişimlere göre şekillenmektedir. Böylece romanı ilginç kılan ve yorumlanmasını güçleştiren husus, izlenimci hikaye anlatımını bir anlatım tekniği olarak ortaya koyan ve bu yöntemi okurlara sosyal düzeni, kişisel bütünlüğü ve geleneksel roman formunu dönüştürecek bir alternatif olarak sunan alışılmadık anlatıcısıdır. Bu çalışmanın amacı; Dowell'in güvenilmez anlatıcı tekniği ile, öyküyü kaleme alma aşamasında okuru aktif bir katılımcıya dönüştüren mimetik yanılsamayı nasıl yarattığını ele almaktır.

The results and achievements of the main schools and directions of naratology indicate the need to reread both well-known and recondite texts in order to spell out the meanings. We believe that the narrative analysis of prose by Victor Domontovich (the Ukrainian intellectual writer) is interesting and relevant. The article attempts to characterize the manifestations of the bias of an unreliable narato in the novel “Doctor Seraficus” based on the A. Nyuninga’s cognitive approach. A modern German researcher provides a set of tools that can supplemented for a multidimensional consideration of all ambiguities and contradictions in the text. An intelligent game that unfolds in the text manifests itself at different levels. V. Domontovych conducts the biggest game, the game with meaning through the pending authority of unreliable presenter. The text of the novel consists of abstract reflections, notes, dreams, illusions, fantasies, dreams and retrospective journeys. The main law of the text is the game. Irony and contradictions in the narrator’s words encourage the reader to feel dissonance, uncertainty. Therefore, in a narrative analysis, attention is focused on the speaker and who sees (the focal point). It was investigated that the artist Corvin is the narrator of the novel “Doctor Serafikus”, he tries to give as much as possible objectively the personal story. The motives for the unreliability narration based on the personal interest and bias of the character are determined. We identified the main symptoms of the unreliability of the narrator in the work, and the different levels at which the corresponding narrative is expressed, are highlighted. It is established that an unreliable narrative forces distancing itself from a narrator and takes everything that has been said with caution and detachment. Detailed narrative analysis of the work sheds light on the meanings, which for some reason masked, and allows you to establish artistic functions of an unreliable narrator. We believe that understanding this phenomenon makes it possible to make a comprehensive analysis of artistic text.

This article explores the skeptical approach to utopian ideals taken by Jonathan Swift. Swift`s Gulliver`s Travels seems closely comparable to Thomas More`s Utopia based on the two authors` shared vision, or what I phrase as “skeptical utopianism.” Gulliver`s existence in Houyhnhnmland emblematizes man`s middle station, for Gulliver is positioned between the Yahoos, an irredeemable species wholly governed by primitive pas sions and the Houyhnhnms, who without fail obey the dictates of right reason. This perspective, indeed, mirrors More`s Christian humanism, a doctrine that promotes man`s potential for self-edification and social progress, but sees man`s original fall as forestalling the perfection of such Enlightenment projects. Thus, both More and Swift express a serious doubt over excessive infatuation with unattainable ideals. Their skeptical utopianism seeks to strike a balance between deep yearnings for an ideal state and serious reservations about its practicability. It is this critical skep ticism implicit in Utopia and Gulliver`s Travels that makes them distin guishable from other early modern utopian narratives, which are character ized by their unmitigated optimism for the perfection of human society. In articulating such skeptical utopianism, Swift`s satirical energy is pri marily channeled to parodying Gulliver`s blind enthusiasm. What under mines Gulliver`s credibility as a narrator is therefore his unrestrained fanaticism. While the madness shown by the imperialist Lilliputian king and the tyrannical Laputian crown mirrors that of protagonist-narrator as self-aggrandizing jingoist, Gulliver, owing to his absolute devotion to the Houyhnhnms` ideals, becomes a bitter cynic―a radical self-reinvention that nevertheless renders the narrator equally untrustworthy.