Fractured Narratives in Novel and Film

Monica Spiridon


Our contribution points to the strategic split operated by Ian McEwan’s narrative and, comparatively, by Joe Wright’s film Atonement. This split allows them to craft two diverging narrative discourses which overtly compete to dominate the interpretation of the fiction and especially its reading transactions. Eventually these narrative maneuvers of both the writer and the director overcome the teleological fate of the narratives and allow them to perform a meta-fictional and self-reflexive role.


meta-fiction; fictional self-reflection; narrative voice; narrative split; genre patterns

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