3.2 Petry article - key Points Flashcards

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0
Q

What did Lawrence Graver call Stevens’ discourse?

A

A “Corseted idiom”

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1
Q

Petry claims “Stevens narrates in his very own language code”, but what are the features which substantiate this interpretation?

A

His use of periphrasis, euphemisms, paralipses and litotes

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2
Q

What does Stevens’ playing down of events emulate?

A

The narrative of Etsuko

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3
Q

Who stated it was more about what Stevens didn’t say within Remains?

A

Graham Swift

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4
Q

What was the contemporary atmosphere at the time of writing Remains (intertextually?)

A

Suez Crisis

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5
Q

What similarity exists between Stevens and Ono?

A

Embroilment with fascism - the Jewish affair “for the good of the house”

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6
Q

What does Gurewich establish about Stevens?

A

“It is only through his master that Stevens manages to establish his own worth”

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7
Q

What is the ‘other’ story behind Remains?

A

A love that failed, or a “sentimental love story”

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8
Q

What does Ishiguro do whilst Stevens is ‘driving forward, looking backward’?

A

Reminiscing of older narrative prose:

  • The picaresque novel - a bildungstrip (King)
  • Allusions to Lane and Jeeves
  • Sherlock Holmes
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9
Q

What quote from Dr Watson in Sherlock Holmes almost mirrors Stevens?

A

“He was, I take it, the most perfect reasoning and (ob)serving machine that the world has ever seen

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10
Q

What could the journey from Darlington Hall to Kenton represent?

A

A journey of self liberation after a lifetime of self imprisonment

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11
Q

What are the three relationships Stevens develops?

A

With his two fathers, one biological, one class-oriented, and Miss Kenton.

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12
Q

What do Farraday and Kenton represent?

A

Kenton the past and tradition, Farraday change and present

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13
Q

What does Hassan say about the novel?

A

The novel simultaneously perfects and subverts its own literary tradition

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14
Q

What does Ishiguro himself say about the Englishness of Remains?

A

It’s more English than English

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15
Q

What does deconstructive, dissecting irony force the reader to acknowledge?

A

We are not reading the ‘real thing’ - neither a first person narrative of the likes of Copperfield, nor an original picaresque novel, nor a Hardyesque idyllic romance, not a Graham Greene espionage thriller - but a fiction that undermines itself. It is a mock.

16
Q

What are the tragic elements Stevens considers English ideals?

A

Loyalty, devotion, emotional restraint, total self-control, ••Dignity••

17
Q

What is the sinister side of England in Remains?

A

It is not ‘a harmonious, peaceful Arcadia’, but soil which could ‘nourish the seeds of destructive fascism’

18
Q

What is the significance of the clothing imagery?

A

A literal and figurative way of clothing the private self from his own understanding and the public gaze. Language and memory itself clothes a painful reality - and a wasted life - from scrutiny

19
Q

What does Stevens’ professional suit allow him to do?

A

The rhetoric allows him to guise his sexual and political disengagement

20
Q

What does Gurewich comment on about the transition of the novel?

A

What started out as a mild comedy of manners turns into a tragedy, one that never loses its subtlety or power of understatement

21
Q

Rushdie on Turbulence

A

“a turbulence as immense as it is slow”

22
Q

What does Moscombe illustrate?

A

Stevens is totally unable to learn or adjust his opinions

23
Q

What can Stevens’ narrative be called?

A

An unreliable narrative