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Integrating Music with Fiction: Ian McEwan’s Libretto for Michael Berkeley’s Opera For You

100%
Popiel M.
Anglica. An International Journal of English Studies
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2013
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issue 22/1
45-56
EN
The article undertakes to prove that Ian McEwan is an ambitious and versatile writer who is not afraid of experimenting with forms which are on the borderline of literature and other arts. It presents McEwan as a literary artist having a wide professional knowledge of music. The analysis focuses on McEwan’s opera libretto For You which is a problematic work for any literary analysis as, being a multimedia narrative text type, it stands on the borderland between literature and music. The article analyses the interdependence of these two spheres considering the libretto as a complex artistic text – which refers to music at various interpretation levels: the language, style, plot and construction – and sheds new light on the narrative complexities of the text/music interaction.
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Vyprávění mezi empatií a vraždou Ian McEwan a jeho román Pokání

81%
Čapek J.
Svět literatury – Časopis pro novodobé literatury (World of Literature – Journal for Modern Literatures)
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2021
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vol. 31
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issue 2
9-24
EN
While the human capacity of storytelling constitutes an important meta-textual motif in several of McEwan’s novels, Atonement (2001) is his prominent story about storytelling and its moral value. McEwan has at times suggested that narrative imagination can help us enter other people’s lives and thus forms a pre-condition for any contemporary morality. The article reads Atonement as an attempt to put this belief in narrativity to the test. Moreover, it addresses the role played by non-literary narratives in the self-understanding of individuals and groups. When asking how deeply narrative we are according to McEwan, the present article suggests that the key distinction the novel Atonement enables us to draw is not the one between the “narrativist” and “anti-narrativist” approach, but between two complementary experiences of time whose interplay makes our life unstable and prone to failures.
3

Narrative as Expiative Fantasy in Ian McEwan’s Atonement

71%
Dobrogoszcz T.
Roczniki Humanistyczne
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2015
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vol. 63
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issue 5: Neofilologia
115-127
EN
The paper endeavours to analyse Ian McEwan’s self-reflexive novel with the theoretical apparatus provided by the psychoanalytic theory of Jacques Lacan. McEwan designs his novel as a fictitious narrative written by Briony Tallis, an aging novelist who wishes to atone for the childhood blunder that ruined the lives of her sister, Cecilia, and her sister’s beloved, Robbie. In order to gain reader’s sympathy, Briony describes her thirteen-year-old self as an idealistic and innocent child, deprived of paternal guidance, governed by the unconscious structures of the Symbolic Order. The girl’s compulsive craving for order and for control of the reality around her is linked to her narcissistic constitution, which, as Freud suggests, proves an important quality in the creative writing process. The paper follows Briony’s efforts to devise an elaborate expiative fantasy which allows her not only to create the appropriate mise-en-scène of personal atonement, but also to establish the coordinates of her desire to achieve some purpose through her writing.
PL
Artykuł podejmuje analizę autotematycznej powieści Iana McEwana Atonement [Pokuta] z wykorzystaniem aparatu pojęciowego zapożyczonego z teorii psychoanalitycznej Jacques’a Lacana. McEwan nadaje swojej książce formę „powieści w powieści” napisanej przez Briony Tallis, starzejącą się pisarkę, chcącą odpokutować za popełniony w dzieciństwie błąd, który zmarnował życie jej siostry Cecylii oraz ukochanego siostry – Robbiego. Z myślą o pozyskaniu współczucia czytelnika, Briony przedstawia swoją własną postać w wieku 13 lat jako idealistyczne i niewinne dziecko, pozbawione ojcowskiego autorytetu i sterowane przez nieświadome struktury Porządku Symbolicznego. Cechujący dziewczynkę upór w dążeniu do porządku i sprawowania kontroli nad otaczającą ją rzeczywistością jest przejawem jej narcystycznej osobowości, która, jak twierdzi Freud, jest przymiotem każdego pisarza. Artykuł analizuje proces budowania przez Briony misternej fantazji ekspiacyjnej, która pozwala jej stworzyć nie tylko odpowiednią scenę spektaklu pokuty, ale umożliwia również wyznaczenie koordynatów własnego pragnienia jako artysty-pisarza.
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