Playfulness as Apologia for a Strong Story in Ian McEwan's Sweet Tooth

Kód výsledku v IS VaVaI

<a href="https://www.isvavai.cz/riv?ss=detail&h=RIV%2F00216208%3A11410%2F15%3A10314749" target="_blank" >RIV/00216208:11410/15:10314749 - isvavai.cz</a>

Výsledek na webu

<a href="http://dx.doi.org/10.5817/BSE2015-1-6" target="_blank" >http://dx.doi.org/10.5817/BSE2015-1-6</a>

DOI - Digital Object Identifier

<a href="http://dx.doi.org/10.5817/BSE2015-1-6" target="_blank" >10.5817/BSE2015-1-6</a>

Jazyk výsledku

angličtina

Název v původním jazyce

Playfulness as Apologia for a Strong Story in Ian McEwan's Sweet Tooth

Popis výsledku v původním jazyce

Ian McEwan's penultimate novel, Sweet Tooth (2012), is a remarkable achievement, not only in the context of the contemporary British literary scene but also within the body of its author's work. Although it is written in the form of a spy thriller, withan element of romance, the novel by far transcends the limits of this genre. It provides an intriguing exploration of McEwan's favourite themes, but also contains a notable dimension of intertextual and metafictional playfulness, which in this case is highly self-reflective as he makes direct references to his own fiction, namely to his short stories from the collection In Between the Sheets (1978). Therefore, in terms of its thematic and narrative framework, Sweet Tooth can be especially linked with two of his earlier novels, The Innocent (1990) and Atonement (2001). This article argues that McEwan's use of playful narrative strategies is not a result of his intention to write an experimental text challenging the traditional notion of

Název v anglickém jazyce

Playfulness as Apologia for a Strong Story in Ian McEwan's Sweet Tooth

Popis výsledku anglicky

Ian McEwan's penultimate novel, Sweet Tooth (2012), is a remarkable achievement, not only in the context of the contemporary British literary scene but also within the body of its author's work. Although it is written in the form of a spy thriller, withan element of romance, the novel by far transcends the limits of this genre. It provides an intriguing exploration of McEwan's favourite themes, but also contains a notable dimension of intertextual and metafictional playfulness, which in this case is highly self-reflective as he makes direct references to his own fiction, namely to his short stories from the collection In Between the Sheets (1978). Therefore, in terms of its thematic and narrative framework, Sweet Tooth can be especially linked with two of his earlier novels, The Innocent (1990) and Atonement (2001). This article argues that McEwan's use of playful narrative strategies is not a result of his intention to write an experimental text challenging the traditional notion of

Druh

J_x - Nezařazeno - Článek v odborném periodiku (Jimp, Jsc a Jost)

CEP obor

AJ - Písemnictví, mas–media, audiovize

OECD FORD obor

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Projekt

—

Návaznosti

I - Institucionalni podpora na dlouhodoby koncepcni rozvoj vyzkumne organizace

Rok uplatnění

2015

Kód důvěrnosti údajů

S - Úplné a pravdivé údaje o projektu nepodléhají ochraně podle zvláštních právních předpisů

Název periodika

Brno Studies in English

ISSN

0524-6881

e-ISSN

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Svazek periodika

41

Číslo periodika v rámci svazku

1

Stát vydavatele periodika

CZ - Česká republika

Počet stran výsledku

15

Strana od-do

101-115

Kód UT WoS článku

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EID výsledku v databázi Scopus

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