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Domestic Terrorisms : = Genre, Violence, and Family Life in the Contemporary British Novel.

Record Type:	Language materials, manuscript : Monograph/item
Title/Author:	Domestic Terrorisms :/
Reminder of title:	Genre, Violence, and Family Life in the Contemporary British Novel.
Author:	Mohtadi, Sana Martha.
Description:	1 online resource (98 pages)
Notes:	Source: Masters Abstracts International, Volume: 85-05.
Contained By:	Masters Abstracts International85-05.
Subject:	Language. -
Online resource:	click for full text (PQDT)
ISBN:	9798380704236

Domestic Terrorisms : = Genre, Violence, and Family Life in the Contemporary British Novel.
Mohtadi, Sana Martha.

Domestic Terrorisms :Genre, Violence, and Family Life in the Contemporary British Novel. - 1 online resource (98 pages)

Source: Masters Abstracts International, Volume: 85-05.

Thesis (M.A.)--McGill University (Canada), 2023.

Includes bibliographical references

This thesis brings together three British novels written before and after 9/11 that represent terrorism-Doris Lessing's The Good Terrorist (1985), Ian McEwan's Saturday (2005), and Kamila Shamsie's Home Fire (2017)-and addresses how each novel engages with ideological violence at the level of the family through its manipulation of generic conventions. In depicting terror, each novel plays upon an established genre or canonical text: the bildungsroman, the modernist one-day novel, and Greek tragedy. Notably, each of these genres is also invested in the intricacies of family dynamics, and especially the destiny of young people whose moral, ethical, and political attitudes differ from their parents' worldview. As opposed to exploring the psychology of the terrorist character, this thesis engages with the terrorist as an agent of critique within the novel. It also re-locates the terrorist novel outside the United States and traces a continuity between the pre- and post- 9/11 depiction of terrorism as an intensely local phenomenon that implicates each member of the family unit and the institutions with which they interact. The Good Terrorist, Saturday, and Home Fireconfront the "terrorism taboo" by unengaging with terrorism as its own genre, and instead, reorienting domestic fiction and the family novel towards institutional and formal critique. Rejecting the notion that a "retreat" into the domestic obscures the political urgency terrorism engenders, I posit the critical potential of the terrorist character. By tracing a genealogy of novels that consider terrorism and domestic life, this thesis outlines a continuity between pre- and post-9/11 representations of terrorism, stressing a dually transnational and local approach to terrorist fiction within familiar generic bounds.

Electronic reproduction.
Ann Arbor, Mich. :
ProQuest,
2024

Mode of access: World Wide Web

ISBN: 9798380704236Subjects--Topical Terms:

571568
Language.
Index Terms--Genre/Form:

554714
Electronic books.

Domestic Terrorisms : = Genre, Violence, and Family Life in the Contemporary British Novel.
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520 $a This thesis brings together three British novels written before and after 9/11 that represent terrorism-Doris Lessing's The Good Terrorist (1985), Ian McEwan's Saturday (2005), and Kamila Shamsie's Home Fire (2017)-and addresses how each novel engages with ideological violence at the level of the family through its manipulation of generic conventions. In depicting terror, each novel plays upon an established genre or canonical text: the bildungsroman, the modernist one-day novel, and Greek tragedy. Notably, each of these genres is also invested in the intricacies of family dynamics, and especially the destiny of young people whose moral, ethical, and political attitudes differ from their parents' worldview. As opposed to exploring the psychology of the terrorist character, this thesis engages with the terrorist as an agent of critique within the novel. It also re-locates the terrorist novel outside the United States and traces a continuity between the pre- and post- 9/11 depiction of terrorism as an intensely local phenomenon that implicates each member of the family unit and the institutions with which they interact. The Good Terrorist, Saturday, and Home Fireconfront the "terrorism taboo" by unengaging with terrorism as its own genre, and instead, reorienting domestic fiction and the family novel towards institutional and formal critique. Rejecting the notion that a "retreat" into the domestic obscures the political urgency terrorism engenders, I posit the critical potential of the terrorist character. By tracing a genealogy of novels that consider terrorism and domestic life, this thesis outlines a continuity between pre- and post-9/11 representations of terrorism, stressing a dually transnational and local approach to terrorist fiction within familiar generic bounds.
520 $a Cette these reunit trois romans britanniques ecrits avant et apres le 11 septembre qui representent le terrorisme -The Good Terrorist (1985) de Doris Lessing, Saturday (2005) de Ian McEwan et Home Fire (2017) de Kamila Shamsie-et traite de la maniere dont chaque roman aborde la violence ideologique au niveau de la famille par sa manipulation des conventions generiques. En depeignant la terreur, chaque roman s'appuie sur un genre etabli ou un texte canonique: le bildungsroman, le roman d'un jour moderniste et la tragedie grecque. Notamment, chacun de ces genres s'investit egalement dans les subtilites de la dynamique familiale, surtout dans le destin de jeunes gens dont les attitudes morales, ethiques et politiques different de la vision du monde de leurs parents. Plutot que d'explorer la psychologie du personnage terroriste, cette these aborde le terroriste en tant qu'agent de critique dans le roman. Elle relocalise egalement le roman terroriste en dehors des Etats-Unis et etablit une continuite entre la representation du terrorisme avant et apres le 11 septembre en tant que phenomene intensement local qui concerne chaque membre de la cellule familiale et des institutions avec lesquelles ils interagissent. The Good Terrorist, Saturday et Home Fireaffrontent le « tabou du terrorisme » en ne s'engageant pas avec le terrorisme en tant que genre propre, mais en reorientant la fiction domestique et le roman familial vers une critique institutionnelle et formelle. En rejetant l'idee qu'un « retrait » vers le domaine domestique masque l'urgence politique qu'engendre le terrorisme, je postule que le personnage terroriste a un potentiel critique. En tracant une genealogie des romans qui abordent le terrorisme et la vie domestique, cette these presente une continuite entre les representations du terrorisme anterieures et posterieures au 11 septembre, en mettant l'accent sur une approche a la fois transnationale et locale de la fiction terroriste a l'interieur de limites generiques familieres.
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