Abstract Against the backdrop of sudden shifts in global political and historical climate, our century has witnessed a convergence of turns in humanities, including the nonhuman turn and the historical turn. Ian McEwan’s latest novella, The Cockroach, is a just work along this line. Through the use of unnatural narratives within realistic context, McEwan presents readers with a world that is both strange and recognisable. By examining the unnatural narrative strategies, including the deployment of nonhuman character and omniscient narrator, McEwan expresses concerns for the future of humanity and fear for social and cultural parochialism, populism and anti-cosmopolitanism.
{"title":"Unnatural narratives, Brexit and ideology in Ian McEwan’s The Cockroach","authors":"Dandan Zhang","doi":"10.1515/fns-2021-0007","DOIUrl":"https://doi.org/10.1515/fns-2021-0007","url":null,"abstract":"Abstract Against the backdrop of sudden shifts in global political and historical climate, our century has witnessed a convergence of turns in humanities, including the nonhuman turn and the historical turn. Ian McEwan’s latest novella, The Cockroach, is a just work along this line. Through the use of unnatural narratives within realistic context, McEwan presents readers with a world that is both strange and recognisable. By examining the unnatural narrative strategies, including the deployment of nonhuman character and omniscient narrator, McEwan expresses concerns for the future of humanity and fear for social and cultural parochialism, populism and anti-cosmopolitanism.","PeriodicalId":29849,"journal":{"name":"Frontiers of Narrative Studies","volume":"24 1","pages":"124 - 146"},"PeriodicalIF":0.4,"publicationDate":"2021-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76718199","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract Ruth Finnegan FBA OBE (1933, Derry, Northern Ireland) took a DPhil in Anthropology at Oxford, then joined the Open University of which she is now an Emeritus Professor. Her publications include Oral Literature in Africa (1970), Oral Poetry (1977), The Hidden Musicians: Music-Making in an English Town (1989), and Why Do We Quote? The Culture and History of Quotation (2011). Ruth Finnegan was interviewed by Sarali Gintsburg (ICS, University of Navarra) and Luis Galván Moreno (University of Navarra) on the occasion of an online lecture delivered at the Institute for Culture and Society at the University of Navarra. In this trialogue-like interview, Ruth tells about the childhood experiences that were decisive for her interest in orality and storytelling, about her education and training as a Classicist in Oxford, the beginnings of her fieldwork in Africa among the Limba of Sierra Leone, and her recent activity as a novelist. She stresses the importance of voice, of its physical, bodily dimensions, its pitch and cadence; and then affirms the essential role of audience in communication. The discussion then touches upon several features of African languages, classical Arabic and Greek, and authoritative texts of Western culture, from Homer and the Bible to the 19th century novel. Through discussing her childhood memories, her assessment of the development and challenges of anthropology, and her views on the digital transformation of the world, Ruth concludes that the notion of narrative, communication, and multimodality are inseparably linked.
露丝·芬尼根(1933年生于北爱尔兰德里)，英国联邦勋章(OBE)获得者，曾在牛津大学攻读人类学博士学位，后加入英国开放大学，现为该校名誉教授。她的著作包括《非洲口述文学》(1970)、《口述诗歌》(1977)、《隐藏的音乐家:英国小镇的音乐创作》(1989)、《我们为什么要引用?》引文的文化与历史(2011)。在纳瓦拉大学文化与社会研究所举办的在线讲座中，Sarali Gintsburg (ICS, University of Navarra)和Luis Galván Moreno (University of Navarra)采访了Ruth Finnegan。在这个审判式的采访中，露丝讲述了童年的经历，这些经历对她对口语和讲故事的兴趣起了决定性的作用，讲述了她在牛津大学作为一名古典主义者的教育和训练，讲述了她在非洲塞拉利昂林巴人中的野外工作的开始，以及她最近作为一名小说家的活动。她强调声音的重要性，它的物理，身体尺寸，音高和节奏;然后肯定了受众在传播中的重要作用。然后，讨论触及了非洲语言的几个特点，古典阿拉伯语和希腊语，以及西方文化的权威文本，从荷马和圣经到19世纪的小说。通过讨论她的童年记忆，她对人类学发展和挑战的评价，以及她对世界数字化转型的看法，露丝得出结论，叙事、传播和多模态的概念是密不可分的。
{"title":"Voice in a narrative: A trialogue with Ruth Finnegan","authors":"S. Gintsburg, Luis Galván Moreno, R. Finnegan","doi":"10.1515/fns-2021-0001","DOIUrl":"https://doi.org/10.1515/fns-2021-0001","url":null,"abstract":"Abstract Ruth Finnegan FBA OBE (1933, Derry, Northern Ireland) took a DPhil in Anthropology at Oxford, then joined the Open University of which she is now an Emeritus Professor. Her publications include Oral Literature in Africa (1970), Oral Poetry (1977), The Hidden Musicians: Music-Making in an English Town (1989), and Why Do We Quote? The Culture and History of Quotation (2011). Ruth Finnegan was interviewed by Sarali Gintsburg (ICS, University of Navarra) and Luis Galván Moreno (University of Navarra) on the occasion of an online lecture delivered at the Institute for Culture and Society at the University of Navarra. In this trialogue-like interview, Ruth tells about the childhood experiences that were decisive for her interest in orality and storytelling, about her education and training as a Classicist in Oxford, the beginnings of her fieldwork in Africa among the Limba of Sierra Leone, and her recent activity as a novelist. She stresses the importance of voice, of its physical, bodily dimensions, its pitch and cadence; and then affirms the essential role of audience in communication. The discussion then touches upon several features of African languages, classical Arabic and Greek, and authoritative texts of Western culture, from Homer and the Bible to the 19th century novel. Through discussing her childhood memories, her assessment of the development and challenges of anthropology, and her views on the digital transformation of the world, Ruth concludes that the notion of narrative, communication, and multimodality are inseparably linked.","PeriodicalId":29849,"journal":{"name":"Frontiers of Narrative Studies","volume":"11 1","pages":"1 - 20"},"PeriodicalIF":0.4,"publicationDate":"2021-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84933493","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract In the Wounded Storyteller, Arthur Frank proposed three types of narrative told by people attempting to reclaim their voice and the body made alien by illness – restitution, quest, and chaos. Restitution narrative has dominated media; in it, the patient simply experiences the disease and is presented passively, and the medical community is presented as having agency. In quest narrative, the experiencer becomes their own hero; their suffering brings knowledge which is then shared with the audience who bears witness and is charged with learning the lesson the experience conveys. In quest narrative, while speakers have agency that they are often robbed of in the restitution narrative, they are saddled with the imperative to inspire others. This makes the narrator a hero, but we need to ask, where does the imperative come from that demands that the narrator become a hero and an example for others? If that imperative comes from the audience and market demands, we need to recognize how they are dictating the manner in which stories are told, determining which are selected by publishers and media venues to be disseminated. The third type, the chaos narrative, is rarely encountered by audiences because the chaos narrative is usually erased. This “anti-narrative” can only be lived and cannot be told. The individual living with chronic physical or mental illness or a disability, who cannot be stoic and turn their story into a quest narrative, is rendered mute. Since restitution narrative is also unavailable to these individuals, their stories are left unspoken or unwritten. Their stories have largely been controlled by external agents. Failure to meet normate expectations has meant rejection. How prescriptive norms arose that delegitimatized the authority of chaos narrative must be understood if authentic chaos narrative is to be spoken and written.
{"title":"Refusing to be silenced: Claiming chaos narrative","authors":"Colleen Donnelly","doi":"10.1515/fns-2021-0006","DOIUrl":"https://doi.org/10.1515/fns-2021-0006","url":null,"abstract":"Abstract In the Wounded Storyteller, Arthur Frank proposed three types of narrative told by people attempting to reclaim their voice and the body made alien by illness – restitution, quest, and chaos. Restitution narrative has dominated media; in it, the patient simply experiences the disease and is presented passively, and the medical community is presented as having agency. In quest narrative, the experiencer becomes their own hero; their suffering brings knowledge which is then shared with the audience who bears witness and is charged with learning the lesson the experience conveys. In quest narrative, while speakers have agency that they are often robbed of in the restitution narrative, they are saddled with the imperative to inspire others. This makes the narrator a hero, but we need to ask, where does the imperative come from that demands that the narrator become a hero and an example for others? If that imperative comes from the audience and market demands, we need to recognize how they are dictating the manner in which stories are told, determining which are selected by publishers and media venues to be disseminated. The third type, the chaos narrative, is rarely encountered by audiences because the chaos narrative is usually erased. This “anti-narrative” can only be lived and cannot be told. The individual living with chronic physical or mental illness or a disability, who cannot be stoic and turn their story into a quest narrative, is rendered mute. Since restitution narrative is also unavailable to these individuals, their stories are left unspoken or unwritten. Their stories have largely been controlled by external agents. Failure to meet normate expectations has meant rejection. How prescriptive norms arose that delegitimatized the authority of chaos narrative must be understood if authentic chaos narrative is to be spoken and written.","PeriodicalId":29849,"journal":{"name":"Frontiers of Narrative Studies","volume":"58 3-4 1","pages":"110 - 123"},"PeriodicalIF":0.4,"publicationDate":"2021-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73065544","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract The classic view of narrative since the time of Aristotle is that plot structure is prioritized over characters in defining the nature of stories. According to this view, plot is an abstract structure external to the protagonist, and the protagonist’s actions are determined by the thematic goals of the plot. The current analysis calls for a reversal in the prioritization of these elements in creating a story. We present an Embodied Plot model in which character not only drives plot, but embodies plot as well. According to this model, the dramatic arc of plots is attributable to psychological processes occurring in the protagonist’s mind. Plot structure is thus isomorphic with the psychological and problem-solving experience of the protagonist inside the storyworld. We apply this model to a number of fairy tales to demonstrate how the dramatic arc of these stories can be explained in each case by the protagonist’s experientiality.
{"title":"Character mediation of plot structure: Toward an embodied model of narrative","authors":"Carmen Tu, Steven Brown","doi":"10.1515/fns-2020-0007","DOIUrl":"https://doi.org/10.1515/fns-2020-0007","url":null,"abstract":"Abstract The classic view of narrative since the time of Aristotle is that plot structure is prioritized over characters in defining the nature of stories. According to this view, plot is an abstract structure external to the protagonist, and the protagonist’s actions are determined by the thematic goals of the plot. The current analysis calls for a reversal in the prioritization of these elements in creating a story. We present an Embodied Plot model in which character not only drives plot, but embodies plot as well. According to this model, the dramatic arc of plots is attributable to psychological processes occurring in the protagonist’s mind. Plot structure is thus isomorphic with the psychological and problem-solving experience of the protagonist inside the storyworld. We apply this model to a number of fairy tales to demonstrate how the dramatic arc of these stories can be explained in each case by the protagonist’s experientiality.","PeriodicalId":29849,"journal":{"name":"Frontiers of Narrative Studies","volume":"8 1","pages":"112 - 77"},"PeriodicalIF":0.4,"publicationDate":"2020-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83360411","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Marina Grishakova and Maria Poulaki, ed. Narrative Complexity: Cognition, Embodiment, Evolution. Lincoln: University of Nebraska Press, 2019. xvi+451 pp. ISBN: 9780803296862.","authors":"Xiaomeng Wan","doi":"10.1515/fns-2020-0009","DOIUrl":"https://doi.org/10.1515/fns-2020-0009","url":null,"abstract":"","PeriodicalId":29849,"journal":{"name":"Frontiers of Narrative Studies","volume":"35 1","pages":"127 - 132"},"PeriodicalIF":0.4,"publicationDate":"2020-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74792799","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract The first paragraph of Greene’s The End of the Affair establishes a clear link between two of the major themes of the novel: storytelling and Catholicism. Maurice Bendrix, the first-person narrator, considers whether it is his craft as a professional writer that leads him to begin telling his story the way he does, or, were he a believer, whether the hand of God played a role in organizing the events that he retells. The order in which a story is told is pitted against the chronological order of the events depicted, this contrast in turn masking the one between human choice and divine intervention. The gist of the story is the affair Bendrix conducted with Sarah Miles, and its unexpected and unexplained end at her behest a year before the opening scene, at the height of the Blitz. That mystery is the crux of the plot, for Bendrix’s obsession with uncovering it leads him to hire a private detective, Parkis, whose exploits allow Greene to appropriate the narrative structure of detective fiction to frame his work, especially in what concerns what Franco Moretti called a “double system of meanings”, following Todorov’s work on detective fiction: the superficial level of investigation hides the deeper level of the crime which is only revealed at the end. My suggestion is that Greene’s novel operates under this system, superimposing it to his concerns with jealousy, religion, and how to tell it. The concern with God, however posits issues of authorship and narrative that go beyond the classical detective story. The interplay between narrative time and experienced time expressed in the novel’s initial paragraph is in this way rendered more complicated by a detective story’s reliance on its conclusion for it to “work”. Although the The End of the Affair opens by emphasizing its own opening, both title and structure point to the source of meaning: the end.
{"title":"The end of the affair: Catholic plots and sinful detectives","authors":"Simão Valente","doi":"10.1515/fns-2020-0004","DOIUrl":"https://doi.org/10.1515/fns-2020-0004","url":null,"abstract":"Abstract The first paragraph of Greene’s The End of the Affair establishes a clear link between two of the major themes of the novel: storytelling and Catholicism. Maurice Bendrix, the first-person narrator, considers whether it is his craft as a professional writer that leads him to begin telling his story the way he does, or, were he a believer, whether the hand of God played a role in organizing the events that he retells. The order in which a story is told is pitted against the chronological order of the events depicted, this contrast in turn masking the one between human choice and divine intervention. The gist of the story is the affair Bendrix conducted with Sarah Miles, and its unexpected and unexplained end at her behest a year before the opening scene, at the height of the Blitz. That mystery is the crux of the plot, for Bendrix’s obsession with uncovering it leads him to hire a private detective, Parkis, whose exploits allow Greene to appropriate the narrative structure of detective fiction to frame his work, especially in what concerns what Franco Moretti called a “double system of meanings”, following Todorov’s work on detective fiction: the superficial level of investigation hides the deeper level of the crime which is only revealed at the end. My suggestion is that Greene’s novel operates under this system, superimposing it to his concerns with jealousy, religion, and how to tell it. The concern with God, however posits issues of authorship and narrative that go beyond the classical detective story. The interplay between narrative time and experienced time expressed in the novel’s initial paragraph is in this way rendered more complicated by a detective story’s reliance on its conclusion for it to “work”. Although the The End of the Affair opens by emphasizing its own opening, both title and structure point to the source of meaning: the end.","PeriodicalId":29849,"journal":{"name":"Frontiers of Narrative Studies","volume":"13 1","pages":"31 - 45"},"PeriodicalIF":0.4,"publicationDate":"2020-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80239520","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract This paper poses the question of how the beginning of a narrative may (or may not) imply a generic frame. More precisely, the objective is to examine the way in which the given narrative mood (perspective, type of discourse) and the initial narrating instance (or narrative situation) relate to generic expectations. Specific attention is given to cues of realism in the openings of nineteenth-century European novels. The discussion critically assesses F. K. Stanzel’s (A Theory of Narrative) and Philippe Hamon’s (“Un discours contraint”) assumptions about the way in which initial narrative choices might identify the genre of the text. Both Stanzel and Hamon, in their differing ways, over-emphasise the generic implications of the narrative mode. The crucial point of distinction for Stanzel in this regard is the reflector mode. More specifically, he argues that an initial figural narrative situation could be considered conspicuously fictional. Hamon, in turn, highlights the question of novelistic conventions in realistic discourse, one generic marker of which is what he calls the “narrative concretization (alibi) of the performance of the discourse,” such as the strategy of delegating the narration to a narrator-character at the beginning of the novel. It is maintained in this paper that although novelistic beginnings cannot determine the text’s fictionality or genre by their narrative mode alone, the narrative perspective and situation in the opening can evoke, in connection with other potential markers, such as perspective, personal pronouns, verb tense, peritexts, and their combined rhetorical function, generic expectations that shape the reader’s understanding of the text. Paul Valéry’s famous mock-novelistic beginning “The marquise went out at 5 o’clock” is used as a point of reference in the discussion, and representative examples of “realistic” beginnings are drawn from Charles Dickens, Émile Zola and contemporary literature.
摘要本文提出了一个问题，叙述的开始如何可能(或可能不)暗示一个一般框架。更准确地说，目的是研究给定的叙事情绪(视角、话语类型)和最初的叙事实例(或叙事情境)与一般期望之间的关系。特别注意十九世纪欧洲小说开头的现实主义线索。讨论批判性地评估了f·k·斯坦泽尔(A Theory of Narrative)和菲利普·哈蒙(Philippe Hamon)关于最初叙事选择可能识别文本类型的方式的假设。斯坦泽尔和哈蒙都以各自不同的方式过分强调了叙事模式的一般含义。Stanzel在这方面的关键区别在于反射器模式。更具体地说，他认为最初的人物叙事情境可以被认为是明显虚构的。反过来，哈蒙强调了现实主义话语中的小说惯例问题，其中一个普遍的标志是他所谓的“话语表现的叙事具体化(不在场证明)”，例如在小说开头将叙事委托给叙述者角色的策略。本文认为，虽然小说的开头不能仅通过叙事模式来决定文本的虚构性或体裁，但开头的叙事视角和情境可以与其他潜在的标记(如视角、人称代词、动词时态、上下文及其组合的修辞功能)联系起来，唤起读者对文本理解的一般期望。Paul valsamry著名的模仿小说的开头“The marquise went out at 5点钟”被用作讨论的参考点，“现实主义”开头的代表性例子来自查尔斯·狄更斯，Émile左拉和当代文学。
{"title":"“The marquise went out at 5 o’clock”: Novel beginnings and realistic expectations","authors":"K. Mikkonen","doi":"10.1515/fns-2020-0002","DOIUrl":"https://doi.org/10.1515/fns-2020-0002","url":null,"abstract":"Abstract This paper poses the question of how the beginning of a narrative may (or may not) imply a generic frame. More precisely, the objective is to examine the way in which the given narrative mood (perspective, type of discourse) and the initial narrating instance (or narrative situation) relate to generic expectations. Specific attention is given to cues of realism in the openings of nineteenth-century European novels. The discussion critically assesses F. K. Stanzel’s (A Theory of Narrative) and Philippe Hamon’s (“Un discours contraint”) assumptions about the way in which initial narrative choices might identify the genre of the text. Both Stanzel and Hamon, in their differing ways, over-emphasise the generic implications of the narrative mode. The crucial point of distinction for Stanzel in this regard is the reflector mode. More specifically, he argues that an initial figural narrative situation could be considered conspicuously fictional. Hamon, in turn, highlights the question of novelistic conventions in realistic discourse, one generic marker of which is what he calls the “narrative concretization (alibi) of the performance of the discourse,” such as the strategy of delegating the narration to a narrator-character at the beginning of the novel. It is maintained in this paper that although novelistic beginnings cannot determine the text’s fictionality or genre by their narrative mode alone, the narrative perspective and situation in the opening can evoke, in connection with other potential markers, such as perspective, personal pronouns, verb tense, peritexts, and their combined rhetorical function, generic expectations that shape the reader’s understanding of the text. Paul Valéry’s famous mock-novelistic beginning “The marquise went out at 5 o’clock” is used as a point of reference in the discussion, and representative examples of “realistic” beginnings are drawn from Charles Dickens, Émile Zola and contemporary literature.","PeriodicalId":29849,"journal":{"name":"Frontiers of Narrative Studies","volume":"27 1","pages":"17 - 4"},"PeriodicalIF":0.4,"publicationDate":"2020-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87460992","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract Fin-de-Siècle A Hungarian version of the present paper was published as “Erósz és Agapé: Erotextus Edward Prime-Stevenson Imre: Egy emlékirat című regényének expozíciójában” (2019) in Literatura affiliated with the Hungarian Academy of Sciences. Supported by the ÚNKP-19-3 New National Excellence Program of the Ministry for Innovation and Technology.” gay literature in English operated with a double narrative: one narrative offers a historical (and “innocent”) reading available to general readership; the other offers a personal (often illicit) reading available to the susceptible and initiated readers only. The double narrative, thus, allowed authors to give subtle visibility to same-sex desire in their works that would evade censorship. This paper argues that there is a similar double narrative in the exposition of Imre: A Memorandum by the American music critic and émigré writer Edward Prime-Stevenson. The double narrative of the novel, however, differs from that of prior gay literature. I argue that Prime-Stevenson thought it was a literary sin that prior gay literature offered a sensual, erotic, or even pornographic, subversive secondary reading to susceptible readers. In my reading, Prime-Stevenson consciously planted cues in the exposition of the novel, thus, created an erotext to trigger a similar subversive and illicit reading of his text. However, Prime-Stevenson used this technique to demonstrate that purely erotic literary representations denigrate same-sex desire; therefore, in what followed, he presented a different, agapeic view on same-sex desire. The paper substantiates that Prime-Stevenson’s intention was to break away from earlier narrative “traditions” of gay literature to offer a naturalised and legitimised representation and “script” of “homosexuality” per se. Prime-Stevenson did so in a crucial period of time, as the term “homosexual” just barely entered the English language and its pejorative connotations may not have been set in stone. The paper, as a result, casts a new complexion on sexuality as a literary phenomenon and the relevance of a complex narrative structure composed of “snares” and “false snares” in the exposition of Imre, which plays a crucial role in Prime-Stevenson authoring one of the very first openly homosexual novels in English, which has a happy ending.
本文的匈牙利语版本发表在匈牙利科学院的《文学》(Literatura)上，标题为“Erósz : Erotextus Edward Prime-Stevenson Imre: Egy eml reg - ”(2019年)。国家创新技术部ÚNKP-19-3新一代优秀人才计划资助项目。“英语中的同性恋文学以双重叙事运作:一种叙事为普通读者提供了一种历史的(“无辜的”)阅读;另一种提供个人(通常是非法的)阅读，仅供易受影响和入门的读者使用。因此，双重叙事允许作者在他们的作品中给予同性欲望微妙的可见性，以逃避审查。本文认为，在美国乐评人、移民作家爱德华·普里姆-史蒂文森的《Imre: a Memorandum》的论述中，也存在着类似的双重叙事。然而，小说的双重叙事不同于以往的同性恋文学。我认为，Prime-Stevenson认为，先前的同性恋文学为易受影响的读者提供了一种感性的、色情的、甚至色情的、颠覆性的二次阅读，这是一种文学罪过。在我的阅读中，普利姆-史蒂文森有意识地在小说的阐述中植入线索，从而创造了一种色情文本，从而引发了对他的文本的类似颠覆性和非法阅读。然而，Prime-Stevenson用这种方法证明纯粹的情色文学表现诋毁了同性欲望;因此，在接下来的文章中，他对同性欲望提出了一种不同的、客观的观点。论文证实，Prime-Stevenson的意图是打破早期同性恋文学的叙事“传统”，为“同性恋”本身提供一种自然的、合法的表现和“剧本”。Prime-Stevenson是在一个关键时期这样做的，因为“同性恋”一词刚刚进入英语语言，其贬义的含义可能还没有固定下来。因此，本文对性作为一种文学现象，以及对伊姆雷的阐述中由“陷阱”和“假陷阱”组成的复杂叙事结构的相关性进行了新的审视。伊姆雷在普里姆-史蒂文森创作英国最早公开的同性恋小说之一的过程中起了至关重要的作用，并有了一个圆满的结局。
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