Throughout the poetry of Thomas Hardy, excluding The Dynasts, there reappears a characteristic and constant narrator device which Hardy employs to force the reader to maintain perspective and objectivity upon the action of the poems and to provide a framework of attitudes and conclusions by which the reader can judge the content of the poems.

No description available.

The essay examines the narrative techniques in the novel Delirio (2004) by the Columbian writer Laura Restrepo. Focus is set on the question of narrators. The narrators in this novel have a structuring function, and it is suggested that there is one of them in particular which links the main character's delirium with the context of the 'real world' in the novel. A narratological analysis is carried out based on categories by theorists like Gérard Genette and Yuri Lotman. A description of every narrator's characteristics such as reliability, speech style, knowledge and experience is made, followed by a comparison between them and a reflection about their function in the novel. Finally, among five narrators, two are pointed out as the most important, the one that connects the main characters psychological crisis with reality, and the one which sets the whole story together.

The aim of this bachelor’s thesis is to discuss, and attempt to confirm, that Ian McEwan’s Atonement (2001) lacks closure. Since the novel has an unreliable narrator who offers her readers several credible endings to her narrative, and who also acts as the fictitious author of the story, unreliability and metafiction are claimed to be the main underlying causes of this deprivation of closure. The discussion in the first section of the analysis is based on the plot development depicted in Gustav Freytag’s Pyramid, and the second part is focused on Victoria Orlowski’s four metafictional characteristics denoting ways in which writers of metafiction transgress narrative levels. The claim is concluded to be partly fulfilled, since Atonement is regarded as lacking closure in terms of narrative structure but not in a philosophical and moral sense.

Vytauto Martinkaus romane „Žemaičio garlėkys“ atskleistos pasakojimo ypatybes: naracijos laikas (trukmė, tvarka, dažnis), naratorių tipai (ekstradiegetinis, intradiegetinis) ir pasakojimo funkcijos (naratyvinė, valdymo, komunikacinė, liudijimo, ideologinė) naudojantis Gerard Genette naratologija. / The following characteristics of the narrative and the narrator are revealed in the novel „Žemaičio garlėkys“ through narratology: type of narrator (ekstradiegetic, intradiegetic), the time in the novel is classified by duration, frequency, and order; the functions in the narrative are as follows: narrative, operating, communicative, ideological functions and the function of witness.

A Portrait of the Artist as a Young Man is viewed traditionally by many critics and scholars alike more or less, if not entirely, as Joyce’s autobiographical novel. The identity of the narrator and his relationship to the focalizer and the narrative text are aspects that have thus not been sufficiently examined and explored. An analysis of the passage when Stephen clarifies to himself his relationship to words which makes possible the revelation of his calling as an artist will reveal the intimacy of the narrator and Stephen, indicating they are one and the same. But it will also disclose the structure of the narration of Portrait to be the result of Stephen’s very discovery of the meaning of words to him. And the view of Stephen as a narrator, as well as the main focalizer, turns Portrait into a work of fictional autobiography. His thoughts and contemplations monopolize the narration, granting him exclusive authority over the presentation of his story. Furthermore, the suggestion in the title of the novel that he is also the writer begs the question of reliability. Can Stephen’s story be trusted, or is Portrait a fabrication of his childhood in order to convince the world that he really was born to become an artist? The opening and ending of the novel suggest that the narrative is not “based on a true story” of Stephen’s life but instead that it is composed in the fantasy world which Stephen withdraws into as his meagre output does not meet his expectations. Thus Stephen writes his first novel entitled A Portrait with which he hopes to achieve the fame and receive the recognition he desires. But Stephen is still a struggling artist when the narrative finishes, hence the ambiguous ending as Stephen is the novel itself, its inconclusive narrative. Stephen’s A Portrait is a glorious act of self-creation.

This thesis explores the genre of gothic literature by outlining the themes and common techniques that writers use. It discusses prominent writers in the genre, as well as critiques their techniques and compares them to my own. Two fiction pieces are accompanied with the critical introduction that fit the gothic literature genre.

Collection of short stories about unreliable characters. Iris, Happy New Year, Promise, and Siblings are stories about home - whether it is about a broken home or just a character missing home. These short stories are all fictional.

The purpose of this paper is to examine the role which animal narrators play in the it-narrative genre. This paper argues that the qualities of life and agency separate animal narrators from object narrators, making animal narrators especially capable of providing social critique thanks to animal narrators' naturally occupying a space between subject and object. This thesis marks the rising use of animal narrators and notes their narratological trends over a 62 period, showing the lingering influence of late-eighteenth-century models into mass-market periodicals of antebellum America and Victorian Britain. Chapters One and Two provides generic definitions and a brief consideration of animals in popular British culture and responds to key points of debate in the current it-narrative field by using Felissa or; The Life and Opinions of a Kitten of Sentiment (1811). Chapters Three and Four analyze related texts from before and after Felissa. Chapters Four and Five extend the discussion to shorter fiction in children's periodicals, taking the audience response to it-narratives into account. Highlighting the distinction between animal and non-animal narrators in these venues gives nuance to our understanding of the well-known "circulation" thematic in the it-narrative genre, while also calling attention to these narratives' less-studied but rigorous examinations of slavery, class difference, and colonialism.

No description available.