Don't get angry get...active Marmot, Michael
The Lancet (British edition),
12/2016, Letnik:
388, Številka:
10061
Journal Article
Recenzirano
In Ian McEwan's Saturday, a petty criminal is insulted by a perceived slight, inflicted unwittingly by neurosurgeon Henry Perowne. To redress this challenge to his status he invades Perowne's elegant ...home, later the same Saturday. The invader pulls a knife, orders Perowne's adult daughter to shed her clothes, in front of the rest of the family, and threatens murder and rape, perhaps in the other order. Perowne has correctly guessed that the would-be assailant has Huntington's disease and, lying to him that he has in his study information on a new treatment, attracts him upstairs.
Ian McEwan tarafından kaleme alınan Solar (2010), iklim değişikliğini anlatan çevre odaklı bir kurgusal eserdir. Solar, çevre sorunlarını merkeze alan ve bu sorunlara çözüm üreten bir eser ...olmamasından dolayı birçok eleştiri almıştır. Oysaki bu sorunları alaycı bir şekilde yorumlayan romanın ana karakteri, Beard, aracılığıyla aslında McEwan iklim değişikliği gibi konulara farklı bir bakış açısı sunmaktadır. McEwan’ın bu anlatısı, Nobel ödüllü orta yaşlı bir fizik profesörü olan Michael Beard’in fosil yakıt kullanımından bağımsız bir enerji kaynağı bulma çabasını öyküleştirir. Fakat üretken bir akademisyen ve çevreci bir karakter resmetmek yerine, McEwan antipatik bir başkahraman yaratır. Beard’in bencil kişiliğine çapkınlığı ve çalıntı bir çalışmayı kendisininmiş gibi yayınlaması da eklenince sevimsiz karakteri daha da pekişir. Roman boyunca, Beard’in bencil karakteri göz önüne alındığında, ekosistemi kurtarmaktan çok kendi fiziksel ihtiyaçlarına önem verdiği görülür. Solar, Beard’in bakış açısından anlatıldığı için benmerkezci karakteri ile iklim değişikliğini engelleme amacı arasındaki tezat daha da belirgin bir hal alır. Beard’in anti-çevreci karakteri ve ekosistemi kurtarma çabası arasındaki çelişki Solar romanındaki toksik çevreye dikkat çekmektedir. Bu toksik çevre sadece doğa değil aynı zamanda doğa ve kültür ilişkisinin toksik özelliğini de içinde barındırmaktadır. Bu bağlamda, metin, başkahramanın çıkarcı kişiliği üzerinden doğa ve kültürü toksik olarak, yani “atık” kavramı ile ilişkili olarak betimler. Bu çalışma, Beard’in bencil karakteri ve toksik çevre arasındaki tezatın “toksik bilinç” fikrine işaret ettiğini irdeleyerek metnin insanlığın neden olduğu atık ve israfa karşı farkındalık geliştirmek amacını taşıdığını tartışmaktadır. Dolayısıyla, bu tartışma, Solar eserinin, Beard’in insan merkezli bakış açısı vasıtasıyla kültürü ve doğayı “atık” kavramı ile tanımlayarak bir “toksik bilinç” oluşturduğu fikrine odaklanmaktadır.
Ian McEwan's The Children Act serves as a profound narrative inquiry into the intricate legal challenges of British civil court practice. This paper responds to the scholarly omission of the law's ...practical portrayal in the novel by foregrounding its hermeneutic dimensions. Beginning with the novel's illustration of legal contradictions, the study examines law as a form of social praxis. It emphasizes the interpretive nature shared by both law and literature, and applies hermeneutic theory to elucidate the impact of individual subjectivities on the interpretation of law as depicted through the novel's characters. Concluding with an analysis from the legal practitioners' standpoint, the research navigates through the paradoxes and pragmatic realities inherent in legal proceedings. By conducting this hermeneutic exploration of The Children Act, the paper enhances our understanding of its thematic underpinnings and provides substantive hermeneutic contributions to the field of legal research.
The sociologists Ulrich Beck and Anthony Giddens theorise that we are living in a risk society, characterised by the increasing prevalence of low probability-high consequence threats to human health. ...Communities are characterised by the constant state of apprehension, anxiety and the rise of ontological insecurity. Rather than reading science as the discourse of objectivity, the risk society approach reveals that the uncertainty and contingency that assails modern society is an unanticipated side effect of modernity itself. This article argues that Ian McEwan's Enduring Love dramatises the subjective experience of apprehension generated by risk society dynamics and charts its effects on the reception of expert knowledge, scientific discourse, and the abstract systems of modernity.
There is now emerging evidence that AI may support diagnostics in electrophysiology by automating common clinical tasks or aiding complex tasks using deep neural networks that are superior to ...currently implemented computerised algorithms.4 Soon, AI simulations of the circuit of monomorphic ventricular tachycardia may be used to guide catheter ablation, or even stereotactic radioablation for a vast number of patients.5 Combining data obtained from several diagnostic modalities using AI might elucidate pathophysiological mechanisms of new, rare, or idiopathic cardiac diseases, aid the early detection or targeted treatment of cardiovascular diseases or allow for screening of disorders currently not associated with the ECG.4 Is all this the future or just wishful thinking? Rebecca Goldin, writing for the Genetic Literacy Project in response to President Obama’s 2013 announcement of a broad new research initiative to understand the human brain, provides perspective:7 “The human brain is estimated to have approximately 86 billion neurons (8.6 x 1010), each neuron with possibly tens of thousands of synaptic connections; these little conversation sites are where neurons exchange information. Personalized virtual-heart technology for guiding the ablation of infarct-related ventricular tachycardia.
This essay will explore the (anti)representation of traumatic wounding in Ian McEwan's Cold War novel The Innocent, arguing for a different understanding of McEwan's well-known employment of ...metafictive techniques. I demonstrate how McEwan shines a critical spotlight on narrative re-construction of the past in order to confront an unnarratizable core, which is the effect of traumatic occurrence on identity as manifested through storytelling. Using the critical vocabulary of psychoanalysis and its relationship to trauma theory, I argue for the ethics of an encounter with an otherness so painful it tears apart language and material reality, knowledge and experience. This meeting with otherness encapsulated in trauma alters a critical trajectory that locates narrative ethics in McEwan to be a benign transaction between consciousnesses. This essay argues for the radical impact of a relationality with that which exceeds and precedes the self, and how this event precipitates negatively in McEwan's narrative technique through dissonance, fragmentation and indeterminacy. The registering of the traumatic encounter in narrative will thus allow me to compare how the novel delineates McEwan's narrative style and pursues an incomplete reckoning with personal and collective history, which signals an ethics of the inadmissible and unpresentable.
5 Questions for Mónica Lavín Johnson, Michelle
World literature today,
11/2022, Letnik:
96, Številka:
6
Journal Article
Recenzirano
...it was writing about a recipe book found in the San Jerónimo convent where she lived that I got the desire to write about her life. ...red wine. The cantina La Flor de Valencia, where they serve ...snails in hot sauce on Thursdays, with its noise and tequilas.
In this essay, I use Ian McEwan's 1997 novel Enduring Love to indicate the way McEwan turns the theme of appearance and reality established in Don Quixote from a herald of radical freedom into an ...instrument of skepticism, containment, and control. Whereas the Quixote used fictionality to open liberatory pathways not only for Don Quixote and other characters but also for readers, McEwan's novels use the tools of fiction to foreclose the imaginative flights indicative of hope. Although McEwan's novels are as stylistically accomplished and as adept at manipulating the play of appearance and reality as any in the English language, they serve a political program of reaction, one related to class prejudice and, perhaps surprisingly, to McEwan's atheism and love of science. The relationship of McEwan's characters to fictional truth is, like the author's, nuanced and complex. No novelist can entirely disavow fictionality, but in Enduring Love, Aton
ement, and Sweet Tooth McEwan consistently treats fiction - sometimes coded as fantasy, mystery, imagination, or faith - either as a symptom of derangement or as a means of redirecting readers toward the truth of rationality, objectivity, and materiality. If Don Quixote charges in the name of imagination and hope, McEwan's novels stand for the windmills that unmount him.
The task for contemporary literature is to deal with the legacy of modernism.
—Tom McCarthy (2010)
A century separates us from an iconic moment of aesthetic metamorphosis: 1914 witnessed the ...appearance of James Joyce's
Dubliners
, Gertrude Stein's
Tender Buttons
, Mina Loy's “Parturition,” and the vorticist journal
Blast.
It was the year Dora Marsden and Harriet Shaw Weaver, aided by Ezra Pound, started the literary review the
Egoist
in London and Condé Nast and Frank Crowninshield launched
Vanity Fair
in New York. Arnold Schoenberg's atonal symphonic works assaulted classical sonorities; Wassily Kandinsky elevated the purity of geometric form above the functional work of visual representation. Most crucially, 1914 saw the assassination of Archduke Ferdinand in Sarajevo and the subsequent outbreak of the First World War. Cutting a bloody, four-year swath across Europe, the war took almost forty million lives and rendered all subsequent formal innovation inseparable from cultural devastation: thus the intricate, ruptured literary architectures of
The Waste Land
(1922),
Ulysses
(1922), and
To the Lighthouse
(1927).
Ian McEwan's Nutshell is obviously a rewriting of Hamlet - with the amusing transposition of the eternally hesitating hero into the inside of the womb, that is, into the position of the ultimate ...powerlessness. Made privy to the pillow talk of his mother and uncle plotting the murder of his father, the unborn child meditates on the human condition - before he can experience any of the fascinating and frightening "reality" directly. This essay will examine the mechanics of the story and the tension built between the impossible and the predictable, the comic and the tragic, the unnatural and the mimetic. Its main focus will be on the strange potency of the narrator (despite his obvious powerlessness), which suggests that the persona of the fetus-Hamlet may be a mask, a shell of clever disguise adopted by another narrative agent. The essay will attempt to discover this secret narrator hiding behind an impressive array of literary references and intertextual games.
PDF
