Visual Text in Alasdair Gray's 1982, Janine

Résumé du document

An analysis of how design, text, and the interaction between the two create a depiction of the inner monologue that is reminiscent of cinematic direction in Alasdair Gray's 1982, Janine.

Extraits

[...] Crawford & T. Nairn (Eds.), The Arts of Alasdair Gray. (pp.108-123). Edinburgh: Edinburgh University Press. Gray, A. (2003) Janine. Edinburgh: Canongate Books Ltd. Sorensen, B. (2005). Tales, Titles, Tails: Negotiations of Genre in the (Short) Fiction of Alasdair Gray. [...]

[...] Substantiating this claim is Walker's statement that Gray "not only manipulates his hero . but also manipulates us, exploiting our habits of reading - the willingness with which we suspend disbelief for the sake of the story" (1991, p.40). This gives the narrative a particularly cinematic but, nonetheless, effective tone. Building on this idea of McLeish dictating his inner monologue, and hence the narrative, in the same way that a director dictates a cinematic production is the description of the fantasy involving Helga as "business" (Gray p.91). [...]

[...] (pp.1-7). Edinburgh: Edinburgh University Press. [...]

[...] However, as analysis of 1982, Janine deepens, it becomes clear that this role is less authorial and more directorial. Another device applied, by Gray, which bears mentioning is the transition between the different levels of monologue itself on page ninety. The previously referenced `jarring transition' occurs when Gray, in the voice of McLeish, reflects: "These can be completely understood because people have made them for people. I know exactly why Helga, face and breasts shiny with sweat, pauses waistdeep in weeds to tuck her open shirt into her jeans . [...]

[...] In C. Elias Untitled. (pp. 35-46). Aalborg East: Aalborg University. Walker, M. (1991). The Process of Jock McLeish and the Fiction of Alasdair Gray. In R. Crawford & T. [...]