Framed by cognitive-poetic and possible worlds theories, this article explores two 21st century novels by the British postmodernist author Ian McEwan. Building upon Ryan’s (1991) seminal conceptualisation of the theory in relation to literature and using the novels as case studies, possible worlds theory is used to explain the unique and destabilising stylistic effects at play in the texts, which result in a ‘duplicitous point of view’ and consequent disorientation for the reader. With reference to the stylistically deviant texts of McEwan, it is argued that revisions to current theoretical frameworks are warranted. Most significantly, the concepts of suppositious text-possible worlds and (total) frame readjustment are introduced. Further to this, neuropsychiatric research is applied to the novels, highlighting the potential for interdisciplinary overlap in the study of narrative focalisation. It is concluded that the duplicity integral to both novels’ themes and texture is effected through artful use of hypothetical focalisation and suppositious text-possible worlds.

本文以认知诗学和可能的世界理论为框架，探讨了英国后现代主义作家伊恩·麦克尤恩（Ian McEwan）撰写的两本21世纪小说。在赖安（Ryan，1991）关于文学理论的开创性概念化和小说作为案例研究的基础上，可能世界理论被用来解释文本中所发挥的独特且不稳定的风格效果，从而导致``重复性的观点''。视图”，从而使读者迷失方向。关于麦克尤恩（McEwan）的风格偏离文本，有人认为有必要对当前的理论框架进行修订。最重要的是，假设文本可能的世界和（总）框架重新调整的概念介绍。除此之外，神经精神病学研究被应用于小说，突显了叙事集中研究中跨学科交叠的潜力。可以得出结论，小说的主题和质感的双重性是通过巧妙地使用假设的焦点和可能的文本可能的世界来实现的。