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20PHILOLOGICAL SCIENCES
NARRATIVE STRATEGIES IN JULIAN BARNES'S "FLAUBERT'S PARROT"
Abdullayeva F.
Azerbaijan University of Languages, Teacher of Foreign Languages Department Azerbaijan, Baku
Abstract
The article examines the narrative strategy of J. Barnes's novel "Flaubert's Parrot" as a reinterpretation and description of repeated motives, images and ideas beyond the author's comments. The author's narrative strategy in this work focuses on reader communication as a narrative space. In contact with the work, the reader re-evaluates the work, re-perceives and understands it. Usually, such a narrative text space is built on the principle of deciphering the author's code, re-understanding it. The author of the article interprets this narrative strategy as the active participation of the reader and the reconstruction of the semantics of the work.
Keywords: Julian Barnes, "Flaubert's Parrot", Narrative, actors, auctors.
Introduction. In the early 1970s, R. Barthes in his book "S/Z" proposed to analyze the narrative text as a meaningful process. In receptive aesthetics, the same issue is considered in terms of impact on the reader. However, another possibility of the analysis is to try to understand how the transformation of narrative strategies took place under the influence of the author's intentions, their adaptation to certain goals, regrouping and, consequently, the reconstruction of certain elements. This narrative mechanism is not "burdened" by the author's social and personal intentions, it becomes more of a language opportunity and acts as a language in which unconscious thinking is realized. According to the American literary critic Paul de Man, any literary-critical text can't express as it is, because any commentary is subjective [6;181]. Literary text cannot be understood literally, because language is essentially rhetorical. According to H.R. Jauss, the text is the result of the execution of "certain' instructions, it's the text being accepted by the reader during the controlled perception [4;79].
On the other hand, there is a saying that narrative is a fundamental way of organizing human experiences and a tool for building models of reality. At the same time, it is a way for man to adapt to the temporal nature of his existence. According to Foucault, narrative creates values and beliefs defining culture and traditions, cultural identities and transmits to the future [3;127].
Narrative is the means of "self-creation" of the person, the storehouse of practical knowledge <...>, the form in which memories are stored. It is an artistic form that expands our spiritual world <...> is finally a mirror in which we see what it means to be human," says the authors of the Routledge encyclopedia of narrative theory. It seems that the methods of narrative theory allow studying both the "grammar" of the narrative and the implementation of the discursive "rules" of the period in the work. Thus, the story told is related to the cultural-historical structural basis of the situation in which it is told and listened to [7;184].
Interesting points emerge while studying narratives within a text. In this case, the reader wants to learn how the narrative works, how it affects his life, or how
the text he reads is constructed. In "The Cambridge Introduction to Narrative", H. Porter Abbott discusses the existence of narratives not only in fiction but also in human daily life, and writes that the past has always existed as narratives in the present and in the future. For this reason, the researcher's work reveals many problems related to narrative. One of the peculiarities of the work is that the literary text clarifies narrative techniques such as the author's strategy [1].
The narrative view of the world is a communicative behavior possessing certain rules and acting as a narrative strategy of narration. In particular, a person who tells a story can move forward, both consciously and unconsciously, because everything in the world has already happened and will happen again. In this case, only one thing is a real event - the first, the precedent of all subsequent events like it. This is a narrative view of the world. There is a world of art, and there are characters playing their role in this world. Each character plays its own narratological role in narratology. In the narrative space of the work of art, they act as "actors" or "auctors" and perform events. They play their roles according to the plot line of the work, but they are not free in their behavior. This is due to the narrative identity of the characters. In other words, it is a strategic form of narrative character. The author's strategy is related to the presence of a narrator in the text who says his word. For this reason, there is a typical form of communication between the narrator, the hero type, the subject and the addressee in the narrative space.
Due to its narrative identity, the protagonist of the work can be defined as a person in the true sense of the word. The concept of "polyphony" (Bakhtin) strategically corresponds to this form of the hero. If the protagonist is fully and completely understood by the author, he becomes an indisputable object of information, but the detective of the modern English writer J. Barnes's "Flaubert's Parrot" looks more closely at the protagonist as he moves from one episode to another, trying to penetrate his personal secrets. Apparently, this is due to the fact that as Barnes's narrative strategy, it makes the characters of the work "polyphonic". In narratology, such an approach is called author intensity or autofunc-tionality.
Presenting main material. The communicative aspects of Barnes's works are incredibly vivid and accentuated. The textual mechanisms of his works use all narrative opportunities to communicate with the reader, try to create a certain emotional state, to put forward certain ideas. However, the communicative direction of the text is not limited to the narrator's address to the addressee. Sometimes these appeals are accompanied by the active use of indirect communication methods. In the texts created by J. Barnes, communication is not limited to discourses, it builds relationships with more characters, and has repeatedly created numerous communication situations in the artistic world of the work. Dietetic methods that affect the reader by J. Barnes directly compensate for the addresses, thus creating a link between the author and the reader. But one of the important points in Barnes's texts is that the author does not communicate directly with the reader, but rather with codes and symbols.
The novel "Flaubert's Parrot" is of special interest in the work of J. Barnes in terms of the description of codes and symbols, subtextual ideas. This work is considered one of the best novels in terms of the description of the writer's artistic reflection. The title of the work refers to Gustave Flaubert, a prominent representative of French realism, and an event related to his biography, and this point refers to the reflective point of the work. For this reason, the book repeatedly mentions Flaubert and his life story, works and characters, as well as his beloved wife and friends. It turns out that Flaubert had a parrot with him when he wrote "Madame Bovary", and this parrot is a witness to Flaubert's life. But over the years, the parrot's dried scarecrow has been housed in his home museum. But the paradox is that parrots have already multiplied, and new parrots are appearing in house museums in various cities in France.
The peculiarity of Barnes's novel "Flaubert's Parrot" is that the system of characters is strangely arranged, and the protagonist sees the origin of Flaubert's parrot in all the cities where he mysteriously travels. On the other hand, the protagonist himself is a writer, and sometimes sees himself in the same line with Flaubert, and knows the history of the writing of Madame Bovary so well that when interpreting the work, the reader sometimes thinks that it is his own work. It is true that the novel tells the story of Flaubert's other works, but this is done so skillfully by J. Barnes that the reader has no doubt that he wrote of Flaubert.
The text of "Flaubert's Parrot" is presented not as a literary work, but as a notebook written for the writer himself. Thus, Flaubert's work as a writer is separated from his work and appears outside the writing history of "Madame Bovary". In the historical period of writing the novel, the secret love affair of the writer's friend with his wife does not escape the eyes of J. Barnes, and the two plot lines create conditions for artistic reflection. Sometimes he creates a real scene using Flaubert's daily texts: "When you write the biography of a friend, you must do it as if you were taking revenge for him. Flaubert, letter to Ernest Feydeau, 1872" [2;1].
Apparently, the writer, as a real author's attribute, at the same time emphasizes certain issues, but also
hides them and is silent about them. "Madame Bovary" does not look like a novel in the text of "Flaubert's Parrot", the reader thinks about it and makes comparisons. The novel is formed in such a way that it is written not as a work, but as a diary, after the events are registered, historical facts are noted. It is true that the metanarra-tive components of the text indicate that it is an indicator of the creation of notes after a "long time". But in fact, the investigator's point of view is extremely synchronized with the moment when the events are perceived by their participant. That is why "Flaubert's Parrot" creates a narrative space through reflection, and literature, its origins, the writer's biography, love history become the subject of reflection, separate from the writing process, creating conditions for the emergence of new narrative spaces and narrators. Thus, it contains both fiction and reality. In this regard, the narrator's acquaintance with the writing process at the beginning of the work is interesting: "I begin with the statue, because that's where I started the whole project. Why does the writing make us chase the writer? Why can't we leave well alone? Why aren't the books enough? Flaubert wanted them to be: few writers believed more in the objectivity of the written text and the insignificance of the writer's personality; yet we we disobediently pursue. The image, the face, the signature; the 93 per cent copper statue and the Nadar photograph; the scrap of clothing and the lock of hair. What makes us randy for relics? Don't we believe the words enough? Do we think the leavings of a life contain some ancillary truth? " [2;6]. Apparently, the novel comes to life in front of the reader, but also the narrator can't see the plot in the course of events, which means that he does not act as a narrator who knows everything, even though he is a writer. It is not the final information source, like other narrator characters it depends on the intensity of the author. Hans Gadamer says that true freedom in fiction is measured by the presence of numerous narrators: "We must allow ourselves to express everything about human" [5;118].
The novel "Flaubert's Parrot" is a reflection on literature as a whole, the problem of the fixation of the literary text. Almost all the characters in the work are both real people and inhabitants of the fictional narrative space. Although the characters are real people, the names are sometimes real and sometimes fictional, so the reader behaves according to the laws of artistic reflection between fiction and reality. The reader understands autofiction in the narrative space created by the author. It is also related to the transformation of the author's narrative into the reader's narrative during reading. This in itself indicates the communication between the reader and the work, who understand the text. If the reader speaks the text again in each reading process, it means that he becomes an author for the other reader, and this continues forever. I mean, he's a narrative narrator, and he can tell a story every time: "I must confess that in all the times I read Madame Bovary, I never noticed the heroine's rainbow eyes. Should I have? Would you? Put it another way: is there a perfect reader somewhere, a total reader? Does Dr Starkie's reading of Madame Bovary contain all the responses which I have when I read the book, and then add a whole lot more,
so that my reading is in a way pointless? Well, I hope not. My reading might be pointless in terms of the history of literary criticism; but it's not pointless in terms of pleasure. I can't prove that lay readers enjoy books more than professional critics; but I can tell you one advantage we have over them" [2;10].
In "Flaubert's Parrot", the author's narrative strategy emphasizes the addressee and the addressee. Undoubtedly, this is due to the interaction between the author and the reader or the narrator and the narratator as stated in narratology. The study of narratological problems is one of the important conditions in the organization of modern literary criticism, and J. Barnes's novel "Flaubert's Parrot", which we also analyzed, should be considered among them. It is clear from the text of the novel that the narrator raises provocative words, directs the reader to doubts, uses the real event and raises new questions. The questions addressed to the addressee are intended both for the reader's reflection, and help to understand the historical and biographical information, directing it to the exchange of discourse. This, in turn, allows the narrator to express the reader's attitude to certain issues, to discuss whether he agrees with his ideas. Thus, the narrator puts forward debatable ideas, sometimes confusing the reader, and sometimes looking for answers to new questions: "We should perhaps note at this point the four principal encounters between the novelist and a member of the parrot family. In the 1830s, during their annual holiday at Trouville, the Flaubert household regularly used to visit a retired sea-captain called Pierre Barbey; his ménage, we are told, included a magnificent parrot. In 1845 Gustave was travelling through Antibes, on his way to Italy, when he came across a sick parakeet which merited an entry in his diary; the bird used to perch carefully on the mudguard of its owner's light cart, and at dinnertime would be brought in and placed on the mantelpiece. The diarist notes the 'strange love' clearly evident between man and pet"[2;48].
Conclusion. J.Barnes's narrative strategies are designed to communicate with the reader in the novel, to engage the reader in an active reading process and to manipulate his knowledge, thus creating the basis for
the interactivity of narrative strategies. This, in turn, leads to the reader's response to re-creating the text as it is read.
In contrast to the traditional text in J.Barnes's novel, it is known that in traditional texts, the words of the text are absolutely true, and in this novel they are associated with more modal thoughts and ideas. Didactics is non-existent, as reader reflection and interpretation are preferred.
The narrative strategy of "Flaubert's Parrot" is aimed at "exposing" the novel's protagonist and its author beyond the author's comments. Repeated narratives, reinterpretations and descriptions of motives, images and ideas focus on the confessions and self-criticism of the protagonist (Madame Bovary) or the writer (Flaubert). The reader, in turn, re-evaluates the work beyond the author's comments, re-understands and comprehends it. Each strategy code is based on the principle of deciphering, re-understanding it. The narrative strategy of the analyzed work includes the active participation of the reader and the reconstruction of the semantics of the work.
References
1. Abbott, H.P. The Cambridge Introduction to Narrative. Cambridge University Press. 2008, 270p.
2. Barnes, J. Flaubert's Parrot. Vintage.1999. 192p.
3. Besley, A.C. Foucault and the turn to narrative therapy// British Journal of Guidance & Counselling. 17 Jun 2010, pp.125-143.
4. Jauss, H. R. Toward an Aesthetic of Reception (trans. Timothy Bahti), Minneapolis: University of Minnesota Press. 1982. 264p.
5. Gadamer, H-G. The Relevance of the Beautiful and Other Essays Cambridge: University of Cambridge Press. 1986. 220p.
6. Schwarz, D.R. The Narrative of Paul de Man: Texts, Issues, Significance // The Journal of Narrative Technique. Vol. 20, No. 2 (Spring, 1990), pp. 179-194.
7. Routledge encyclopedia of narrative theory / ed. by D. Herman, M. Jahn, M.-L. Ryan. L.; N.Y.: Routledge, 2008, 345p.
МИФОЛОГИЧЕСКИЕ ПОНЯТИЯ О МАТЕРЯХ БОГИНИ И О МАТЕРИ УМАЙ
Зарипова З.С.
базовый докторант Каракалпакского научно-исследовательского института гуманитарных наук Каракалпакского отделения Академии наук Республики Узбекистан, город Нукус
MYTHOLOGICAL CONCEPTS ABOUT MOTHER OF GODDESS AND MOTHER OF UMAI
Zaripova Z.
doctoral student of the Karakalpak Research Institute of Humanities of the Karakalpak branch of the Academy of Sciences of the Republic of Uzbekistan, Nukus
Аннотация
В произведениях устного народного творчества каракалпаков образ женщин, особенно отважных женщин, веками приобретая требования присущее разным общественным слоям имеет место в дошедших до нас в народных наследиях. Их основные источники пережили этапы зарождения, формирования, непосредственно связанное с мифологическими мышлениями генетического и типологического характера.
