CC BY
10«етуушшим-шишаи» жш. / philological sciences
25
PHILOLOGICAL SCIENCES
УДК 821.111
Abdullayeva Fidan Azerbaijan University of Languages Azerbaijan, Baku DOI: 10.24412/2520-6990-2022-26149-25-27 NARRATIVE MODELS IN JULIAN BARNES'S SHORT STORY COLLECTION "PULSE"
Abstract.
In recent years, the work of the British writer Julian Barnes has been studied together with the artistic aesthetic principles ofpostmodernism. From this point of view, the study of narrative problems in postmodernist texts is one of the topical areas of interest. This is the approach to narrative models in the "Pulse " short story collection of J. Barnes, studied within the framework of the article. In the article, G.Genette's concept of "narrative model" was referred to, the discourse describing the events based on the analysis of the work, the sequential history of the events that are the object of this discourse, and the act of incitement as a narrative tool aimed at the reader were evaluated as factors determining the text of "Pulse ".
Keywords: Julian Barnes, "Pulse ", short story collection, narrative models
Introduction. One of the leading representatives of British literature, Julian Barnes's novel creativity covering the years of 1980-2022 is significant in several ways in the history of literary, artistic and aesthetic thought. Despite the fact that the writer's first novel "Metroland" was written according to the principles of realism, the novel "Before She Met Me" is more distinguished by its compliance with the aesthetic principles of expressionism. "Flaubert's Parrot" and "A History of the World in 10^ Chapters" are postmodernist novels, "The Only Story" and "The Noise of Time" are analyzed in the scope of existentialism, and they carry the aesthetic principles of existentialism. In other words, the writer takes advantage of the artistic principles of the literary and artistic trends and trends existing in English literature and addresses them in his work. His satirical novels are written according to the principles of both realism and modernism, so he continues the experiments of W. Golding, A. Murdoch in the novel genre [8]. For this very reason, his work has been studied in the context of English modernism, and postmodernist novel creativity has been evaluated for its closeness to the works of M. Bradbury and M. Amis [7]. However, in this article, we will limit ourselves to the literary-historical character of J. Barnes's novel creativity with brief notes, pay attention to the narrative problems in a specific work of the writer, and try to determine the narrative structure of the text. For it, we will clarify the narrative principles in the text using linguistic, poetic and structural analysis methods. Fictional narrative is a concept that connects past and present, history and fiction, reality and fantasy. Observing the text's ability to limit the fictional narrative and at the same time combine multiple realities requires careful reading. For this reason, we will try to identify the narrative models in the work, keeping in mind J. Barnes's "Pulse" short story collection.
Experiment. As it is impossible to follow the dynamics of narrative models in the "Pulse" short story collection throughout the entire text, we will refer to the beginning, end and some parts of the text. As noted by
Wolf Schmid, the concept of narrative is also "the specific relations of subjects such as author, narrator, character and reader" [3, p.44]. Each of them has its own reality that embodies writing and speaking, reading and listening. Sometimes they are united; sometimes they are separated according to their functions and thus create a unity of author, character and reader. This can also be seen in J. Barnes's "Pulse" short story collection. Although each of the short stories covers separate topics, the writer engages in polemics with literary styles and trends, uses irony and sarcasm. The peculiarity of these stories of J. Barnes is also that the author uses his strategy of incitement and creates an incredible narrative space. In this regard, Edmund Gordon rightly wrote that, "The familiar teacherly Barnesian narrator presides over a these stories.... Without the aid of expository narrative, it is often ifficult to distinguish the speakers" [6].
Researchers studying the narrative problems emphasize different units of development and define different models of narrative. The names of R. Barth, G. Genette, and V. Shmid should be mentioned in this list. In his essay "The Death of the Author", R. Barthes puts forward the idea that "what is written and what is created are not related to each other" [1, p.31]. G. Genette calls narration a discourse describing a series of events, a sequential history of the events that are the object of this discourse, and an act of narration - a narrative [2]. All three principles are the narrative model of the text according to G. Genette.
V. Shmid puts forward the principle of narrator and reader or communicative model and mentions this model as an important condition for the creation of a text. According to V. Shmid, throughout the work, the author refers to the figure of the narrator and reader in the center of the text. For this reason, in the narrative discourse, the real participants of the events and the fictitious subjects of the investigation differ from each other. If real participants act as explicit narrators, as a rule, fictitious subjects are defined as implicit narrators. The fictitious narrator separates the real from the fiction
26
PHILOLOGICAL SCIENCES / <«g©yL©(MUM~J©U©MaL» #26(149), 2022
in the text and creates conditions for communication between the reader and the work.
If the concept of narrative is not so actively seen in traditional works, it becomes a full-fledged and important phenomenon of postmodernist text. Narrative act in this case clearly explains the participants of aesthetic communication. In the text, the narrator is the most prominent, and he talks about the character and gives explanations.
Discussion and results. Let's apply to the collection of stories "Pulse" by J. Barnes: "Vernon had moved to the town only a few months before, and had no feelings about the beach huts. If anything, their disappearance improved the view from The Right Plaice, where he sometimes had lunch. From a window table he now looked out across a strip of concrete to damp shingle, a bored sky and a lifeless sea. That was the east coast: for months on end you got bits of bad weather and lots of no weather. This was fine by him: he'd moved here to have no weather in his life"[4, p.27].
As it can be seen, the narrator gives his own explanation about the hero of the work, but the figure of the fictitious reader is not overshadowed here either. That's why the "simultaneous" effect of education and the act of understanding the text is created. At this time, the real reader's attention is directed from the fictional world of the hero, from the events taking place in this world, to the incident. Narrative text, as a semiotic object, also creates a field of reflection, and therefore the narrator conveys the necessary ideas to the reader. The text called "the set of narrated events (G. Genette) implements the author's strategy of development and at the same time highlights the artistic world and cultural-historical context of the work. There is such a place in the collection of stories "Pulse": "And as for Moby-Dick, it had been perfectly clear to all and sundry that Jane had never read a word of it. Still, that was the constant advantage of appearing with Jane. It made her, Alice, look better: lucid, sober, well read, slim. How long would it be before Jane published a novel about an overweight writer with a drinking problem who finds a god to approve of her? You really could do with the scourge of one of those old, punitive religions. Stoical atheism is too morally neutral for you" [4, p.36].
The narrator, who entered into a polemic with John Updike and created an allusive background to the novel "Moby Dick" by Herman Melville, brings to the attention of the reader that he is not familiar with this book while giving information about the hero, but then he shares his thoughts about the work. The narrator, who is between John Updike and Herman Melville and gives priority to the modern writer, doesn't forget the cultural-historical context, he turns to the sources of different points of view. The invented world and the development itself are part of the artistic reality of the work, and for this reason the reader accepts the author's reflection games and becomes a part of the play space of the text.
The second important condition in the creativity of the narrative text in the collection is the narrative space where the narrative act takes place. It is usually referred to as "text within a text". Such texts are related to
existing texts and events take place around the existing text. The reader's attention is focused on the text transmitted by the narrator, and in this case all attention is united in the narrative act. "Pulse" talks about the refusal of Hillary Clinton, who participated in the US presidential elections, and the eve of the election of Barack Obama, and the careful reader is faced with a continuation of the text he was familiar with in the media. In this case, he is faced with a "text within a text", in other words, a new interpretation of a known text: "It was the week Hillary Clinton finally conceded. We had talked about Obama's chances against McCain, and whether in recent weeks Hillary had demonstrated guts or mere self-deception. We had also considered whether the Labour Party was any longer distinguishable from the Conservatives, the suitability of London's streets for bendy buses, the likelihood of an al-Qaida attack on the 2012 Olympics, and the effect of global warming on English viticulture. We and decided that Obama would beat McCain, that the Conservatives were only temporarily indistinguishable from the Labour Party, that al-Qaida would certainly attack the 2012 Olympics, that in a few years Londoners would start getting nostalgic about bendy buses, that in a few decades vineyards would once again be planted along Hadrian's Wall as in Roman times"[4, p.46]. Rachel Cusk writes in "Pulse by Julian Barnes" that"his is writing so open to criticism that criticism becomes pointless. Instead one is broken down, forced to feel something, to learn something, about the author, forced to internalize his experiences" [5]. In fact, the "text within the text" in the stories tells about such familiar and well-known historical events that "writing so open to" does not need to explain it.
The main and invariable factor of the narrative in the text is the event. In narratology, there is an opinion that there are no strict criteria for unequivocally distinguishing what is narrated from what is not narrated. That is, events are always accompanied by descriptions and dialogues. If in a traditional work the description is performed by the author, in postmodernist works the author-narrator gives comments and interprets his work. J. Barnes's collection of short stories "Pulse" is also called a novel-story. This is due to the fact that fourteen stories are collected in a book divided into two. However, these stories are interconnected and each story is connected around an event related to the main character's life. The unfolding of the events is carried out by the "discourse describing a series of events" [3] of G. Genette's narrative model. This part of the text becomes a dynamic and productive intersection of different discourses. This feature is realized in postmodernist texts through irony, metaphorical play and figurative language. Sometimes in narratology, they do not consider the event of narration as the dominant factor in the work. The development event can be emphasized so much that sometimes the comments and explanations attract more attention and arouse more interest than the event itself. In some cases, additional investigations are included in the investigation.
The dialogue in such works also differs from the dialogue between traditional characters. Although the
«етушшшм-шишау» #2тш, 2022 / philological sciences
27
dialogues in postmodernist works appear more mono-logic, they were mainly self-reflexive dialogues given in the form of dialogues, intended for a fictional reader. In such works, the narrator performs self-reflection on well-known texts in addition to commenting on them. For this very reason, unique metaplots emerge in postmodernist texts and open the way to the creative process arising from the unity of the narrator and the author. This process serves the communication of the author, the work, and the reader from the beginning of the work to the end.
Conclusions. As it can be seen, the narrator in the artistic world of the text challenges the fiction within the fiction, narrates "some points of view" from the point of view of the character. The study of narrative models in J. Barnes's short story collection "Pulse" suggests that the work is characterized by the artistic intention and autoreflexivity that define the poetics of postmodernism. At the same time, the discourse describing the events that are the three components of the narrative model defined by G. Genette, the set of narrated events that are the object of this discourse, and the narrative act determine the text of "Pulse" as a narrative tool aimed at the reader. It is known that the literary text
is a form of unequivocally addressed author-reader communication, and in this sense, the narrative model in the textual "transmissions" of the novel should be understood as the author's narrative strategy.
References:
1. Барт Р. Избранные работы: Семиотика. Поэтика. М., 1994. с. 384-391
2. Женетт Ж. Работы по поэтике. М.: Сабашниковых. 1998. 320с.
3. Шмид B. Нарратология. М.: Языки славянской культуры. 2003. 312 с.
4. Barnes J. Pulse. London: Jonathan Cape. 2011. 240p.
5. Cusk R. Pulse by Julian Barnes. 2011, 8 Jan. https://www.theguardian.com/books/2011/jan/08/jul-ian-barnes-pulse-rachel-cusk-review
6. Gordon E. Review of Pulse by Julian Barnes //Times Literary Supplement. 07.01.2011 https://www.the-tls.co.uk/issues/november-8-2019/
7. Guignery V. The Fiction of Julian Barnes: A reader's guide to essential criticism. Basingstoke: Palgrave Macmillan. 2006. 176p.
8. Holmes F.M. Julian Barnes (New British Fiction). Basingstoke: Palgrave Macmillan, 2009. 178p.
УДК 821.111
Sevinj Aziz Nakhchivan State University Azerbaijan, Nakhchivan DOI: 10.24412/2520-6990-2022-26149-27-30 DIALOGUE IN J. AUSTIN'S NOVEL "THE WATSONS" AS THE STRUCTURE OF THE AUTHOR'S
NARRATIVE
Abstract.
The dialogues created by the English writer J. Austen in the novel "The Watsons" determine the structure of the author's narrative, and in these dialogues, the true features of the characters are revealed, the personality and character of the individual, as well as the English society that formed its character is also seen. Any dialogue in J. Austin's novels creates communication, and the writer shows behavioral models of various essays in these communications. In the dialogues created by J. Austin, the reader determines for himself the customs, family, marriage and interpersonal relations prevailing in English society. The article clarifies the dialogues that define the author's personal style in J. Austin's novel "The Watsons", identifies dialogues such as confession, explanation, clarification, questioning, argument and confrontation.
Keywords: J. Austin, "The Watsons", narrative, novel, dialogue
Introduction. Artistic dialogue acts as a complex type of communication between the author, reader and characters in the work and determines the dynamics of the work. From this point of view, the functional feature of the artistic dialogue serves to create communication between the author and the reader, and at the same time, it plays an exceptional role in character development. The uniqueness of dialogue in J. Austin's novels is determined by its aesthetic function. The dialogue form created by the writer stands out as a feature of his artistic system. The use of dialogue in his novels is often informative and clarifies the development of events, the unfolding of the plot, the behavior of the characters, and determines their relationship to each other.
J. Austin reveals the characters of her heroes through dialogue, and for this reason it is important to
study the characteristics of dialogue in the writer's novels. G. Muzny writes in his book "Dialogism in the Novel" that "Austin's technique of elicitation was new for the Romantic period, and he thought not about ideas, but about ways to convey them. His evocation was based on persuasive dialogue" [7, p.32].
On the other hand, in J. Austin's novels, the dialogue serves to open the plot, and for this reason, the author shows different opinions through the dialogue. According to the English researcher John Hough, the dialogue established in the work helps to reveal the character of the characters as well as determines their emotions and psychology. The researcher also notes that "there is tension in every dialogue, and the author, in turn, shows the reader how to achieve it" [6, p.29].
It is in the dialogues that J. Austin's heroes reveal their worldview, ethical and moral qualities. The objective description of reality leads the writer to express
