<p>Utgångspunkten för uppsatsen är att studera relationen mellan vissa aspekter av form och innehåll i tre kortare prosatexter. Dessa aspekter är framförallt berättarinstans, berättelsens uppbyggnad, och det i två av texterna utryckliga temat förändring. De valda texterna är kortromanen <em>På Chesil Beach </em>av Ian McEwan (2007), novellen ”Döden i Damaskus” av Anna-Karin Palm (2001) och kortromanen <em>Berömmelse</em> av Daniel Kehlmann (2010).</p><p>Litteraturvetenskapliga perspektiv och analysredskap är valda med tanke på att en av texterna påstår något om berättarens funktion, och att en av de andra texterna resonerar kring vad en berättelse är. De narratologiska verktygen faller sig därför naturliga. Den hermeneutiska metoden används i begränsad utsträckning för tolkningen av texterna. Resultatet av studien visar att texternas uppbyggnad<strong> </strong>i två av fallen tydligt medverkar till att gestalta texternas teman. Den vid första anblicken postmoderna texten <em>Berömmelse</em> – <em>Roman i nio historier</em> (2010) visar sig ha en mer sammanhängande struktur än som kanske märks vid en första snabb genomläsning. I samtliga tre texter är karaktärerna bärare av temat.</p>

Approaching the idea of the library as a polyvocal, self-contradictory and even paradoxical dream, this thesis examines five select texts to examine how this dream emerges across vastly different representations in fiction. Discussed texts include Jorge Luis Borges’ “The Library of Babel” and “The Book of Sand,” Michael Ondaatje’s The English Patient, Ian McEwan’s Atonement, and Thomas Wharton’s Salamander. Special attention is given to the archetypal opposition between daytime’s clarity and night’s disorder, as well as to Alberto Manguel’s two hypothesized library foundational myths, the Tower of Babel and the Library of Alexandria. Although it attempts to remain conscious of social realities surrounding and producing historical libraries, this thesis is primarily concerned with the textual irruption of libraries in fictional narratives, and while its argument articulates the problematic dimension of libraries, it also endeavours to show how libraries are healthy, necessary, and even inevitable human creations. / A survey of library representations in select literary texts.

Submitted by Geyciane Santos (geyciane_thamires@hotmail.com) on 2015-10-26T15:54:46Z No. of bitstreams: 1 Dissertação - Laila Cristina dos Santos Azevedo.pdf: 979864 bytes, checksum: 2b5da6a7a266b06c6209d3339f23d282 (MD5) / Approved for entry into archive by Divisão de Documentação/BC Biblioteca Central (ddbc@ufam.edu.br) on 2015-10-26T18:45:31Z (GMT) No. of bitstreams: 1 Dissertação - Laila Cristina dos Santos Azevedo.pdf: 979864 bytes, checksum: 2b5da6a7a266b06c6209d3339f23d282 (MD5) / Approved for entry into archive by Divisão de Documentação/BC Biblioteca Central (ddbc@ufam.edu.br) on 2015-10-26T18:51:14Z (GMT) No. of bitstreams: 1 Dissertação - Laila Cristina dos Santos Azevedo.pdf: 979864 bytes, checksum: 2b5da6a7a266b06c6209d3339f23d282 (MD5) / Made available in DSpace on 2015-10-26T18:51:14Z (GMT). No. of bitstreams: 1 Dissertação - Laila Cristina dos Santos Azevedo.pdf: 979864 bytes, checksum: 2b5da6a7a266b06c6209d3339f23d282 (MD5) Previous issue date: 2015-04-13 / CAPES - Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Ian McEwan establishes the problematic of written memory and how to rework it as fiction in Atonement. This novel was published in 2001 from the report of a World War II nurse and 77 year-old professional writer, Briony Tallis, who, in a deliberate act, creates a tragedy that affects the fate of three people and seeks to atone her mistake when writing a novel and recounting a crime committed. This metaromance uses the intertextuality and dialogues with other English works such as the ones from Jane Austen, Henry Fielding and Virginia Woolf resuming characteristics of their characters. The meaning of the word “atonement”, that gives title to the novel, is another point to be considered by the broad sense that the verb “to atone” has. The power of literature to represent and interpret the world would be the main theme of this work, when you intend to discuss the possibility of recreating the world from what is written. / Ian McEwan estabelece a problemática da memória escrita e como retrabalhá-la na forma de ficção em Reparação, romance publicado em 2001 a partir do relato de uma enfermeira da II Guerra Mundial e escritora profissional aos 77 anos, Briony Tallis, que, em um ato deliberado, cria uma tragédia a ponto de afetar o destino de três pessoas e busca uma reparação do seu erro ao escrever um romance, recontando um crime cometido. Este metarromance faz uso de intertextualidade e dialoga com outras obras inglesas como as de Jane Austen, Henry Fielding, Virginia Woolf retomando características de seus personagens. O conceito da palavra atonement, que dá título ao romance, é outro ponto a ser analisado pelo amplo sentido que o verbo to atone representa. O poder da literatura de representar e interpretar o mundo seriam o principal tema deste trabalho, quando se pretende discutir a possibilidade de recriar o mundo a partir do que se escreve.

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Souvent conceptualisée comme l’envers ou l’opposé de la raison, la folie, presque toujours synonyme de débordement, semble vouée à outrepasser toute limite définitoire ou conceptuelle posée par la pensée rationnelle. Cette pulsion de délimitation ou de classification inhérente à la rationalité, trouve dans le genre l’une de ses expressions les plus représentatives. Partant du constat que la folie ne cesse de transgresser les frontières traditionnelles de genre, ce travail étudie les liens entre les représentations littéraires de la maladie mentale et les questions de genre sexué (« gender ») comme littéraire, dans un corpus composé de romans, nouvelles et pièces de théâtre de six auteurs (Janet Frame, Jenny Diski, Sarah Kane, Ian McEwan, Anthony Neilson et Will Self), publiés entre 1951 et 2004. Animées par une dynamique toujours renouvelée de subversion des catégories établies, ces oeuvres invitent à une réflexion sur le rapport particulier qu’entretient la folie à la frontière, qui de simple ligne de démarcation ou de séparation se fait point de contact, puis espace à part entière. À travers leurs représentations de la folie, les récits étudiés privilégient le plus souvent, en effet, une esthétique et une épistémologie de l’entre. Cette réflexion s’articule donc principalement autour des images et des usages de la liminalité dans ces histoires de fous et de folles qui, au fil de leur (re)définition de l’appartenance et de l’identité des textes et des individus, esquissent une cartographie mobile des « contrées à venir » dont Deleuze et Guattari font la destination de toute écriture. / Traditionally conceptualised as the underside or the outside of reason, madness most often rhymes with excess; as such, it continually threatens to transgress all definitional or conceptual limits set by rational thought. Indeed, at the core of rationality is an impulse to delimit and classify, of which categories of genre and gender are quintessential examples. Starting from the observation that depicting madness regularly entails crossing, questioning and redefining genre and gender boundaries, this work investigates how literary representations of madness relate to the classification and conceptualisation of gender and genre in a selection of novels, short stories and plays by six different writers – Janet Frame, Jenny Diski, Sarah Kane, Ian McEwan, Anthony Neilson, and Will Self – published between 1951 and 2004. With the subversion of established categories as their central aim and dynamics, these works call for an exploration of the specific way in which depictions of madness, by using the border as one of their core motifs, impact the conceptualisation of borders. No longer a mere demarcation or dividing line between spaces, or simply a meeting point, the border becomes a full-blown space for individuals and texts to inhabit. Indeed, through their representations of madness, the borderline stories under study seem to embrace and promote both an aesthetics and an epistemology of the in-between. This work therefore focuses on the images and uses of liminality in stories of madmen and madwomen that, by remapping textual and sexual identities, have begun to chart these “lands to come” which, according to Deleuze and Guattari, are the true destination of all writing.

<p>The concept of distorting the line between fiction and reality appears to be one of the main themes in Ian McEwan’s <em>Atonement </em>(2001) as well as in Joe Wright’s screen adaptation of the novel, released in 2007. With the focus on the main character Briony Tallis this essay explores the influence that literature and fiction have on her, how they bring her to blur the line between them and reality and, to a lesser extent, the different ways in which the novel and its screen adaptation address this issue. Briony is first introduced as an author, underlining the importance that imagination holds for her, and it is this overactive imagination that causes her to misinterpret real events and thus accuse Robbie Turner for a crime he did not commit. To redeem herself Briony turns to fiction in an attempt to re-write the past; by blurring the line between fiction and reality, as defined by the restrictions of her novel, Briony gives Robbie and Cecilia a future within the pages of her book. The literary motifs and symbols, that are present within her novel, enhance the influence fiction and literature have on her. This is also emphasized by her characters’ relationship with literature, their use of literary works, and their characters.  Briony, the character, strives to become Briony the author, thus emphasizing the importance that literature holds for her. Because Briony is trapped within the boundaries of her own imagination she has, in writing her novel, managed to hold Robbie and Cecilia captive in her imaginative world. Thus, finally achieving what she has been striving to do for during the greater part of her life: Briony, the author, can atone for the terrible ordeals that she caused decades previously.</p>

The concept of distorting the line between fiction and reality appears to be one of the main themes in Ian McEwan’s Atonement (2001) as well as in Joe Wright’s screen adaptation of the novel, released in 2007. With the focus on the main character Briony Tallis this essay explores the influence that literature and fiction have on her, how they bring her to blur the line between them and reality and, to a lesser extent, the different ways in which the novel and its screen adaptation address this issue. Briony is first introduced as an author, underlining the importance that imagination holds for her, and it is this overactive imagination that causes her to misinterpret real events and thus accuse Robbie Turner for a crime he did not commit. To redeem herself Briony turns to fiction in an attempt to re-write the past; by blurring the line between fiction and reality, as defined by the restrictions of her novel, Briony gives Robbie and Cecilia a future within the pages of her book. The literary motifs and symbols, that are present within her novel, enhance the influence fiction and literature have on her. This is also emphasized by her characters’ relationship with literature, their use of literary works, and their characters.  Briony, the character, strives to become Briony the author, thus emphasizing the importance that literature holds for her. Because Briony is trapped within the boundaries of her own imagination she has, in writing her novel, managed to hold Robbie and Cecilia captive in her imaginative world. Thus, finally achieving what she has been striving to do for during the greater part of her life: Briony, the author, can atone for the terrible ordeals that she caused decades previously.

Utgångspunkten för uppsatsen är att studera relationen mellan vissa aspekter av form och innehåll i tre kortare prosatexter. Dessa aspekter är framförallt berättarinstans, berättelsens uppbyggnad, och det i två av texterna utryckliga temat förändring. De valda texterna är kortromanen På Chesil Beach av Ian McEwan (2007), novellen ”Döden i Damaskus” av Anna-Karin Palm (2001) och kortromanen Berömmelse av Daniel Kehlmann (2010). Litteraturvetenskapliga perspektiv och analysredskap är valda med tanke på att en av texterna påstår något om berättarens funktion, och att en av de andra texterna resonerar kring vad en berättelse är. De narratologiska verktygen faller sig därför naturliga. Den hermeneutiska metoden används i begränsad utsträckning för tolkningen av texterna. Resultatet av studien visar att texternas uppbyggnad i två av fallen tydligt medverkar till att gestalta texternas teman. Den vid första anblicken postmoderna texten Berömmelse – Roman i nio historier (2010) visar sig ha en mer sammanhängande struktur än som kanske märks vid en första snabb genomläsning. I samtliga tre texter är karaktärerna bärare av temat.

當代英國作家伊恩麥克尤恩的《贖罪》是部揉雜獨特告白形式的小說。小說直到最終章才清楚指出，這不僅是伊恩麥克尤恩描述主角白昂妮贖罪的小說，更是書中主角白昂妮身為一位作家的告白及贖罪手段。游移在虛假與真實的邊界，此書的核心問題在於，小說家的寫作能否彌補現實生活犯下的過錯？而身為讀者的我們，又該如何解讀小說與告白的轉變？ 本文分成四個章節。第一章介紹《贖罪》的相關評論及理論架構。第二章先闡述巴赫汀的對話和複調理論，再剖析小說中的前三部份如何具體呈現這兩種特質，突顯白昂妮藉由多重敘述觀點，瓦解幼年時自我中心傾向並開啟與他者的對話。第三章聚焦於小說架構的告白轉折。長久以來，告白被視為一種賦予解放和完整自我的力量，傅柯則提出現代社會下的告白演變為自我規訓的機制。以傅柯的觀點來解讀小說結尾，白昂妮的告白在自我解放與治癒的表層下，其實隱含了快感和權力的螺旋結構，對真實及作者身份的延宕意味著她身為小說家權力的回歸。 / Ian McEwan's Atonement is a novel experimentally weaved with a peculiar confessional form. Not until the last part of the novel are readers informed the framed narrative structure: this is not merely McEwan's novel which depicts the heroine Briony's atonement, but more importantly, the grown-up novelist Briony's own confession crafted as a novel to make amends. This complicates our reading in retrospect as the ending reveals the central dilemma: how to judge the novelist's privilege to use confession to atone for the fault made in real life. This thesis consists of four chapters. The first chapter introduces the criticisms of Atonement, followed by my theoretical frameworks adopted to read this novel. The second chapter begins with the explications of Bakhtin's theory of dialogism and polyphony. By integrating these two concepts to scrutinize the first three parts of the novel, I attempt to analyze how Briony's self-reflexive writing and utilizations of multiple points of view expose her childhood monologic mentality and demonstrate her broadening of the self-other understandings. The third chapter discusses the ambivalent confessional twist in relation to the previous story Briony has mesmerized readers to believe. While the confession has been historically considered as a means of self-liberation, Foucault brings out another aspect that the institutionalization of the confession has turned itself into a mechanism of self-discipline. The novel eventually strikes the final note on the double impetus of Briony's narrative that her confession offers a consolation to suture with the past but meanwhile, upon close inspection, the overtones of her restoration of power as a novelist and the spirals of pleasure and power still lurk behind.