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Miscibility of Narrative Heterogeneity: Ian McEwan’s Sweet Tooth as a Hybrid Postmodernist Metafiction | ||
| Critical Literary Studies | ||
| مقاله 9، دوره 5، شماره 1 - شماره پیاپی 9، فروردین 2023، صفحه 91-106 اصل مقاله (274.04 K) | ||
| نوع مقاله: Original Article | ||
| شناسه دیجیتال (DOI): 10.34785/J014.2023.007 | ||
| نویسندگان | ||
| Seyed-Javad Habibi* 1؛ Sara Soleimani-Karbalaei2 | ||
| 1Assistant Professor, Department of English Language and Literature, Khouzestan, ACECR, I.R.Iran | ||
| 2Assistant Professor, Department of English Language and Literature, Khouzestan, ACECR, I.R.Iran. | ||
| چکیده | ||
| Delving into the narration of Ian McEwan's Sweet Tooth (2012), this enquiry unravels the threads of conventional realistic narrative and avant-garde postmodernist one in the tapestry of the novel, arguing that through the miscibility of these two heterogeneous modes of narration McEwan constructs a narrative meta-design that innovatively adds an enigmatic dimension to the spy novel genre. In his dual narrative that depends on verisimilitude as well as self-conscious reflexivity, he once again, a decade after his Atonement (2002), demonstrates his literary taste for bridging the "past" and "present." Marinating his narrative in Cold War events, and adding a dash of what Linda Hutcheon calls "historiographic metafiction," he makes a postmodern signature dish that sustains its paradoxical hybridity: a representational self-reflexivity or an anti-representational reflexivity. Aligned with Monica Cojocaru's detection of a "metafictional twist" in the novel as a part of her comparative investigation, this study discusses that Sweet Tooth's dual narrative makes it eligible to wear the postmodern badge. | ||
| کلیدواژه‌ها | ||
| Metafiction؛ Metanarrative؛ Self-representation؛ Hybrid Postmodernism؛ Anti-representation؛ Self-conscious Narration | ||
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| مراجع | ||
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