Hermeneutic Code Research Articles

POSTMODERN NON-LAUGHTER IRONY IN OŚCI BY I. KARPOWICZ AND FRUTCHEN BY T. HAVRYLIV

AbstractBackground. Irony and laughter in postmodern carnival prose are interrelated, yet notinterdependent. Irony is traditionally defined in terms of its laughter-causing trend; however,postmodern irony can be not funny. Its predominating sign is meaning ambiguity resulting from thegap between pronounced and non-pronounced. Irony is traced both in a meaning-shaping aspect(in which case both a message, and a code matter, and separate fragments of an ironic utterancegain significance), and in an intertextually-formal aspect of irony as a stylistic device and anexpression of the overall postmodern ironic mind.
 Purpose. The article seeks to trace the narrative forms of the ironic game’s domination as anarrative pattern and composition principle of the prose by postmodern writers.
 The research employs the methods of narrative analysis and receptive aesthetics.
 Results. The meaning vector of Ignacy Karpowicz’s narrative strategy in his Ości tends tocreate a peculiar range of polysemy, which, among other meanings, is implied in the book title. Thetitle’s polysemy transits to the level on non-pronounced, to “ness”, which indicates a leftover fromthe verbalized. The intertextually-formal aspect of the irony determines the novel’s receptivestrategy. The reader has to read characters’ “true” story following the picture provided by thenarrator. The reader is offered a detailed picture of their thinking and self-analysis. The authorseems to be kidding at the techniques innate in formula-based genres, inheriting them and breakingstereotypes at the same time. An ironic effect is produced via hints, understatements, unexpectedapproaches to representation. The “narrative” irony is combined with irony over contemporarytrends in literary studies and postmodern philosophical discussions. Irony becomes not onlypolysemic, but multidimensional: it unfolds on the surface of the text like language and narrativegame and alludes to other texts, emphasizing the need for professional interpretation. Frutchen byTymofiy Havryliv is explored in terms of conceptual comparison with “S / Z” by R. Barthes, wherehe outlines the principles of deconstructive analysis. T. Havryliv seems to be following reverselogic; he constructs his text as a reflection of the way to read a hermeneutic code declared by R.Barthes, he walks his reader through all “twists” of deconstructive thinking. A complex system ofnarrators and narrative in the story makes a multidimensional irony over the theme, forms andnorms of academic presentation and formula-based fiction texts.
 Discussion. The article outlines the forms of non-laughter irony and traces its impact on thecreation of polysemy of the postmodern fiction text. Besides, it indicates narrative devices andreceptive strategies used by the authors. In future, it is necessary to focus on the correlationbetween laughter and non-laughter poetics to emphasize ironic postmodern thinking in fiction texts.

KAJIAN SEMIOTIK DALAM NOVEL NY. TALIS (KISAH MENGENAI MADRAS)KARYA BUDI DARMA

This research is backed up by the desire to understand and interpret the semiotic meaning in Ny. Talis (Kisah Mengenai Madras) novel by Budi Darma. The purpose of this study is to describe: (1) hermeneutic code; (2) semantic/semes code; (3) symbolic codes; (4) proaretic code, and; (5) cultural codes in Ny. Talis (Kisah Mengenai Madras) by Budi Darma. The theory used to analyze the data is Roland Barthes' semiotics which focuses on semiotic codes. The approach used is poststructural semiotics by applying heuristic and hermeneutic semiotic reading methods. Research data in the form of dialog quotes, words, sentences, and paragraphs that are related to the focus of research on semiotic codes. research data sources come from Ny. Talis (Kisah Mengenai Madras) by Budi Darma (1996) published by Balai Pustaka.The results of the research and discussion show that the semiotic codes in Ny. Talis (Kisah Mengenai Madras) novel there is a lexias fragment that connects five semiotic codes. Liaison lexias is nothing but the meaning of signification about death and matters related to death. In addition, the reality of life refers to death.

A Snare in the Narrative Structure: An Exploration of Hermeneutic Code in "The Kite Runner"

The present paper studies the novel The Kite Runner by Khalid Hosseini through the lens of Barthe's narrative code theory. The paper primarily focuses on the Hermeneutic code works underlyingly to the narrative. The researchers in the present chapter analyze the mysterious and puzzling elements in the novel, which help in the formation of the text: the current study, the novel The Kite Runner through the Hermeneutic code of Barthes. Barthes gives the five codes theory in his book S/Z. The codes are Hermeneutic code, Proairetic code, Symbolic code, Cultural code and Semantic code. The Hermeneutic code is also termed as jamming, snare and delay or enigma code. The present study is important in the field of narratology because it minutely focusses on the one thread of the narrative to understand the role played by Hermeneutic code in the formation of the narrative structure.

ЖАНРООБРАЗУЮЩАЯ ФУНКЦИЯ ДЕЙКСИСА В РУССКОЙ ПОЭЗИИ XIX-XX ВВ.

For the first time, the article examines deictic means as an additional source of genre formation in lyrical poetry. Analysing the poems of V. A. Zhukovsky, F. I. Tyutchev, A. A. Fet, B. L. Pasternak, the researcher concludes that, being the theme of a statement, deictic elements evolve from an initial speech form to a proper poetical one. It is shown that deictic elements represent the process of identification and self-identification of a lyrical subject. Dominance of a hermeneutic code in the works of this genre is associated with orientation towards the process of cognition (self-cognition). It correlates with mytho-poetical and figurative languages.

Hermeneutical Approach in the Creation of a Modern Interpretative Version of a Ukrainian Folk Song “Na Vgorody Yavory”

Problem statement. The cognition of the spiritual depths of folk singing creativity which hides specific hermeneutic code is an important mission of every generation on the way of the development of nation’s own culture and self-identification. The Ukrainian system of world’s symbolic display belongs to one of the ancient and the richest systems of traditional culture on the planet.The aim of this paper is to describe the specific features of hermeneutic approach in the creation of modern interpretative version of a folk song.Research methodology. Holistic cognition and interpretation of samples of the texts of folk songs and the creation of their modern interpretative versions are based on the comprehensive analysis of all components of the traditional sign system which is provided by the hermeneutic approach.Results. The specific character of the creation of modern interpretative version of a folk song has been revealed based on the algorithm of the cognition of a folk song and its modeling. It has been found that the presence of the genre features of spring and summer ceremonial songs and the elements of later genres — ballads and lyric occur in comparison with recitative and declamation, timbre and dynamic tension of elongated lyric and rhythmic and energetic character of an archaic ceremonial songs. The character of associative connections of tragic and dramatic components of balladic poetical lyrics and figurality of chants coincided with the Green Holidays are highlighted. The specific character of regional vocal and timbre tradition which is based on the review of texture, sound formation and language dialect is clarified. Novelty. The author raises the issue of the hermeneutic approach based on studying an old Trinity song from Solonytsya village of Lubny district of Poltava region “Na vhorody yavory”.The practical significance. The research has important implications for the issues of performing folklorism, that is, the measures of copying and the necessity of enhancement of the emotional and graphic component with the help of the creation of the composition of interpretative version with a strict “relief” of dynamic, tempo and rhythmic, and melodic and alternative development.Conclusions. Hermeneutic approach reveals major possibilities in working with the students’ folklore ensemble, especially in an attempt to explain artistic and graphic, emotional and esoteric and pragmatic contents of a folk song which was encoded in the symbolics of an ancient poetry and also in the genre and style, in harmonic and intonational, in the beat and rhythm and in vocal and timbre components. It is reasonable to use interpretative means of hermeneutics while studying a sample of a folk singing tradition and the creation of its modern scenic interpretative version.

Ekspektasi Sosial Pemuda Sasak dalam Nasyid Ya Fata Sasak Karya Hamzanwadi

This study aims to describe the youth’s social expectations of the nasyid text Ya Fata Sasak by T.G.K.H. Muhammad Zainuddin Abdul Majid. The research method used is semiotic that is qualitative interpretive with content analysis techniques that focus to the research on the latent content of nasyid text Ya Fat Sasak as data research on the latent content of the nasyid Ya Fata Sasak research. This technique is carried out by copying the nasyid Ya Fata Sasak manuscript to Indonesian, reading, writing, and coding into five codes of Rolands Barthes such as hermeneutic code, action code, symbolic code, semantics code, and referential code. So the social expectations of the Sasak youth are defined. The result of this research shows that Sasak youth have equal opportunities with other young people in Indonesia to expect both individually and collectively. Every social expectation carried out by Sasak youth is certainly related to the interest of the people, nation and the state which is realized through the strengthening of critical and independent discourses to maintain their idealism, such as building self-confidence (character building) and carrying out social and religious values as brotherhood and unity, managing natural resources that can be utilized optimally, participating in various competitions of contestations, and instilling a spirit of nationalism as the one of foundations for maintaining and advancing the Indonesian people.

Teratomancy at Tigunānum: Structure, Hermeneutics, and Weltanschauung of a Northern Mesopotamian Omen Corpus

This article examines the inner structure, building principles, and hermeneutic code of a group of late Middle Bronze age teratomantic tablets from Tigunānum in northern Mesopotamia. While in the final evaluation, the Tigunānum teratomantic corpus is of southern Babylonian inspiration, it represents a very specific local reworking of this tradition. This article posits as its distinctive feature the use of a strongly gendered imagery and language that reflect the worldview of an extremely androcentric and militarized society. It also demonstrates a connection between the cultural conceptions underlying the Tigunānum omen corpus and the Old Hittite sphere, the mid-second-millennium world of northern Mesopotamia, and later Assyria.

Teaching of Harry Potter and the Philosophers Stone in the Light of Barthes Narrative Codes at BS English Level

J. K. Rowling has written seven novels in the Harry Potter series. This fiction series has also inspired the educationists and academicians and it has been introduced in different western colleges as part of their syllabi. Warner Brothers made the films based on all the novels of Harry Potter series. Harry Potter World, the studio where these movies were made, is a tourist spot in London and thousands of fans from all over the world visit it every week. The present study explores teaching of Harry Potter and The Philosophers Stone in the light of Barthes Narrative Codes with emphasis on hermeneutic codes and their roles in the building blocks of narrative structure of the novel. The result of the study shows the extensive use of enigma and delays in the series to make it captivating and interesting for the readers.

Narratives of apprehension: crime fiction and the aftermath of the Northern Irish Troubles

With over four hundred produced between 1969 and 1998, the thriller was the most popular fictional form of representing the Northern Ireland Troubles. Critics, however, were highly dismissive of the genre, claiming it offered little more than clichés and stereotypes, and that it marked the enthronement and reiteration of a problematically reductive take on the conflict. The Belfast Agreement (1998) signalled the official end of the Troubles and the beginning of what many hoped would be a new era in Northern Irish history. The decades since the Agreement era have witnessed a remarkable resurgence of interest, both critically and creatively, in crime fiction, and in the ways in which the hermeneutic codes of the genre might be brought to bear on the various legacies of the Troubles. For a new generation of Northern Irish crime writers, academic critics and literary novelists the possibilities and limitations of genre fiction have provided an arena in which key issues might be theorised and thought through; these include the challenge of dealing with the past, questions about truth recovery and transitional justice, and the need within the region to achieve some form of closure on the traumatic events of recent years. Far from continuing a process of ideological reductionism, post-Agreement crime fiction has exemplary value. Drawing inspiration from the police procedural, the comic thriller and the noir-ish Weltanschauung of hardboiled detective fiction, it contains a series of idiosyncratic and sophisticated responses to the aftermath of political conflict. Image source: ‘Loyalist banner and graffiti on a building in the Shankill area of Belfast, 1970’. By Fribbler - Own work, CC BY-SA 3.0, https://commons.wikimedia.org/w/index.php?curid=7569750

Beautiful friend

This article analyses the song The End from The Doors focusing on the interplay of lyrics, music and visual elements, from the album version to the song’s appearance in Francis Ford Coppola’s film Apocalypse Now. Following Roland Barthes’ theory of réécriture the analysis does not aim at a concrete identification of the artists’ intention but at describing the complex conjunction of several levels of meaning expressed in semantic, symbolic, pragmatical, referential and hermeneutic codes. That way it becomes possible to show the oscillation of the text between several topics (end of love, hope or the world) and levels of time and space.

New names, translational subjectivities: (Dis)location and (Re)naming in NoViolet Bulawayo's We Need New Names

NoViolet Bulawayo's We Need New Names – shortlisted for the Man Booker Prize and winner of the Etisalat Prize for Literature in 2013 – is a novel in which the leitmotif of (re)naming associates the trope of migration to the (dis)location and translation of subjectivities. Based on the premise that the movement of subjects from one social context to another is analogous to the translation of text from one language to another, this paper proposes a transitional mode of subjectification. However, I argue against reading Darling's journey from Zimbabwean shanty dweller to illegal immigrant in America as a linear progression from an original (located) to a translated (dislocated) subjectivity. I further argue that the novel goes beyond the idea of ‘transparent translation' – a visible layering of a translated subjectivity over a discrete original subjectivity – by privileging their inter-permeability. Semantic and cognitive dissonance are read as textual markers of the psychic (dis)location experienced by displaced subjects. This analysis of Darling's childhood and adolescent subjectivities leads me to conclude that the novel's leitmotif of (re)naming as a call for a new hermeneutic code through which translational subjectivities can be understood.

SEMANTICS OF THE DEPICTION OF DAUGAVPILS IN ANITA LIEPA’S DOCUMENTARY PROSE AND FICTION

<p>Anita Liepa (born 1928) is a contemporary Latvian prose writer whose creative work was closely related to the post-soviet period in Latvia in the late 20th – and the beginning of the 21st century. In her works she depicted significant evidence of complex and contradictory processes in the history of Latvia in the 20th century, especially those related to World War II and its consequences for Latvia. Her works are divided into two distinct groups: documentary prose and fiction. The writer was born in Daugavpils, a town on the south-eastern border of Latvia, that had a significant role in the history of Latvia, especially in relation to World War II, as the town, was the place of dislocation of the major cavalry corps regiment in Daugavpils fortress. A. Liepa’s uncle Anatolijs Sondors was the fortress commandant, who faced the entrance of the Red Army and along with other Latvian army officers was deported to the Far North of the Soviet Union and died there.</p><p>The present paper regards the depiction of the cultural space of Daugavpils in Liepa’s works, searching for parallels with the writer’s biography and views expressed in different media, that attribute specific connotations to the semantic of the topos of Daugavpils with border as its major dominant. The paper follows up the depiction of Daugavpils both in Liepa’s documentary prose (“Exhumation”, “Colt Years”, “Silenced Pages”) and fiction (“Windfall”). The paper is methodologically based on the notions of cultural geography, semiotics and feminist autobiography studies. It makes use of Mikhail Bakhtin’s term “topos” to denote a model of spatial construction. Border is singled out as the central element of the semantic of the topos of Daugavpils in Liepa’s works, focusing on its spatial, temporal aspects, as well as the depiction of culture environment.</p><p>The topos of Daugavpils is most precisely and extensively depicted in the memory novel “Colt Years” („Kumeļa gadi”). Though published in 1993, the novel had actually been completed before any other of Liepa’s documentary works; this may partially be the reason, why she made depictions of Daugavpils in her following works more laconic. However, the major difference is determined by the genre of her works. In documentary prose the topos of Daugavpils reveals the information about the epoch or what may be called “signs of the time”, activating the culture code (according to Roland Barthes’ division of codes into hermeneutic, semic, proairetic, symbolic, culture codes), yet also developing a bond with the depiction of action and manifestations of the narrator’s subjective emotional states and the system of values. In works of fiction, space is a poetic category closely related to other poetic elements of the text, foregrounding the hermeneutic, semic, proairetic and symbolic codes. Hence, in “Colt Years” the topos of Daugavpils depicts not only the historical and cultural realia and landmarks of the town in the period of the 1930–1940s, but also spatial opposites of two homes the homodiegetic narrator lived in (her deceased father’s house, where she spent the happiest time of her childhood, and her uncle’s hous, where she lived during her school years), accentuating the bond between space and the narrator’s psycho-symbolic reality (referring to the semic and symbolic codes). The link between the topos of Daugavpils and the plot in all documentary works regarded is implied by the locus of Daugavpils railway station as a point of departure or arrival of characters involved in central plot lines. Scenery seen through the train window is realistically described in detail, providing place names, geographical names, referring to earlier episodes of characters’ lives. Thus, the proairetic code is activated along with the culture and other codes. The hermeneutic code is activated in the novel “Windfall” in a very interesting way. On the one hand, the author realistically describes the town of Daugavpils referring to historical events of the time of Awakening there; on the other, the toponym “Daugavpils” is replaced by an imagined name “Rūdunava”. Thus, the analysis of the depiction of Daugavpils in A. Liepa’s works leads to conclusions about the close connection between the category of space and the genre.</p>

Lusting after the Louvre Hermaphrodite: Medical Discourse and Androgyny in Gautier’s Mademoiselle de Maupin and Its Popular Predecessors

Nineteenth-century France was so enamored of androgyny that the hermaphrodite sculpture installed in the Louvre in 1807 had to be protected from visitors' caresses with a barrier. (1) A perennial admirer of the sculpture, Theophile Gautier composed that most famous of Parnassian poems, Contralto, in 1852 as an homage to its ambiguous beauty. (2) Moreover, the plot of his masterpiece, Mademoiselle de Maupin, centers on the mysterious sexual identity of the cross-dressing, eponymous protagonist. A diverse range of nineteenth-century novelists exploit the mystery of doubtful as a means to elicit readerly interest and to dissect social views about binary sex. Here, however, I focus on resonances between noncanonical fiction and Mademoiselle de Maupin in order to reveal how Roland Barthes's hermeneutic code, which continuously postpones the revelation of as an implement to keep us reading, can be seen as the literary equivalent to the often-frustrated medical efforts to determine true sex in living patients. My goal is to ground Mademoiselle de Maupin in a new field of inquiry and its original cultural context. Although Gautier's novel has often been interpreted in light of the preface-cum-manifesto as a reflection of the author's beliefs about art and beauty, I instead investigate Gautier's use of sexual ambiguity in relation to medical discourse and to understudied popular literature. Gautier borrows the terms of a historical debate about hermaphrodism that was raging at the same time he was writing Mademoiselle de Maupin, but his reworking of the doubtful plot participates in a time-honored tradition of literature that relies on sexual indeterminism as a means to keep the reader reading. Likely because of the ahistorical nature of the long-standing critical belief in the myth of the androgyne, coupled with the fact that Mademoiselle de Maupin describes transvestism and gender play rather than physiological hermaphrodism, much of the historical context linking the novel to cultural representations of doubtful remains unexplored. (3) I argue that Gautier's famous novel shares narrative elements with contemporaneous medical case histories while drawing key insights about bodily representation from earlier, sometimes forgotten popular literature. Gautier's hybrid novel innovates significantly with respect to its predecessors in ways that invite us to rethink the novel's stakes. These forerunners include Honore de Balzac's well-remembered works Sarrasine (1830) and Seraphita (1834), the more obscure Fragoletta (1829) by Henri de Latouche, and the now completely esoteric Clementine orpheline androgyne (1820) by J.-P.-R. Cuisin, which, contrary to conventional wisdom, claims the title of the first nineteenth-century novel about a physiological hermaphrodite. (4) Mademoiselle de Maupin recounts a relatively banal love triangle with a few crucial innovations. The Chevalier d'Albert, a young, epicene dandy, searches listlessly for his ideal woman. He eventually takes a lover whom he calls Rosette--charmingly after one of his dogs--and although she is extraordinary in every way, she nevertheless falls short of his ideal of perfection. Rosette, the reader learns, is also using d'Albert to palliate an unrequited love for her old flame Theodore de Serannes, who conveniently returns just when d'Albert and Rosette are beginning to become intolerably bored with each other. Much to d'Albert's horror, Theodore, Rosette's former love interest, embodies everything d'Albert had so ardently desired in a lover, and the latter spends the rest of the novel in anguish, hoping Theodore might be a woman and despairing that he would love Theodore even if he were not. At the same time that d'Albert bemoans his impossible love for Theodore, the reader learns that Theodore had earlier refused Rosette's affections for some still unknown and apparently insurmountable obstacle. Through Theodore's letters, we eventually discover the nature of that obstacle: Theodore is really Madeleine de Maupin in disguise. …

Barthes’ Irreversible Codes: An Intertextual Reading of James Joyce’s “Araby”

Roland Barthes believes that semiology is the study of how language embodies the world. Semiotic codes, the paths of this embodiment, accordingly arouse his attention. Barthes in a structural analysis of Balzac’s “Sarrasine” in S/Z expounds five types and functions of these codes: proairetic (basic narrative actions); hermeneutic (narrative turning points); cultural (prior social knowledge); semic (medium-related codes) and symbolic (themes). This research in a parallel manner explicates that “Araby,” one of the most widely read of James Joyce’s short stories, is abounded with two of these irreversible codes (proairetic and hermeneutic). The present study furthermore tries to show how with resort to a series of signs and the idea of intertextuality a literary text can provide probable answers for some ambiguous and questionable lexias that comprise the story’s hermeneutic code. It demonstrates that not only can the text of “Araby” be encoded by the same criteria Barthes encoded “Sarrasine” but also Joyce himself presents particular names for these codes.

Poetic of Deceleration in the Sight of Barthes’ Hermeneutic Code and the Russian Formalism: A Study of the Narration and Ending of Chi Li’s “Guess What are the Functions of the Arsenic and Recipe”

Poetic of Deceleration in the Sight of Barthes’ Hermeneutic Code and the Russian Formalism: A Study of the Narration and Ending of Chi Li’s “Guess What are the Functions of the Arsenic and Recipe”

Narrativas em Diálogo: A Experiência da Telenovela em Múltiplas Plataformas

This paper aims to investigate the discursive mechanisms that relate, in the “transmedia era”, the main narratives and the transmedia narratives in Brazilian telenovelas. Thus, we present Long’s discussion on the Barthesian concept of hermeneutic codes to detail this discursive functioning; according to the author, the primary narratives and the secondary ones carry these codes that, in the fictional experience, link the different audiovisual narratives, in intertextual and interdiscursive movements.

FRANCOIST POLITICS OF FEMALE IDENTITY: THE CURIOUS CASE OF LIDA VERONA

FRANCOIST POLITICS OF FEMALE IDENTITY: THE CURIOUS CASE OF LIDA VERONA

Writing the South African treason trial

The Treason Trial (1956–61) was the longest and most complex political trial of the century in South Africa. Beginning with 156 accused, it ended with the acquittal of every one. As much as the trial was a triumph in legal terms for the defence team, it was also a triumph of narrative. With an initial script written by the prosecution, the task of the defence was to rewrite the trial while it was under way. This they did with tremendous clarity, combining design and improvisation. They rewrote the frame and the plot of the trial; they succeeded in characterising key figures, including witnesses for the prosecution and defence, and even the judges themselves. They established the trial's hermeneutic codes, and became its secret authors, inverting the normal juridical hierarchy. Ultimately character, plot and theme all became of a piece until the trial could reach what appeared to be its only possible denouement.

Authority as paradox: The transformations of Don Quijote

The author's contention is that the analysand's temporary attribution of authority to the analyst is inherent in the analytic situation; this is seen as a transitional and paradoxical form of authority pertaining neither to internal nor external reality, but dwelling in the analytic third. The author proposes a conceptualization of psychoanalytic authority as a form of aesthetic authority according to Gadamer's defi nitions. While the scientifi c and hermeneutic codes for the understanding of authority in psychoanalysis assume that the main issue at stake is the delimitation of the objectivity or the subjectivity of the analyst's knowledge, this aesthetic perspective centres on the analysand's attribution of a claim of truth to analytic interpretations, and on the experience of recognition. The experience of recognition of a possible truth is particular and context‐bound, as well as self‐transformational. A reading of three episodes from Cervantes's The history of Don Quixote de la Mancha illuminates the transitional and paradoxical character of aesthetic authority within a transformational dialogue. These episodes are read as dramatizations of different positions vis‐à‐vis the paradoxical authority that characterizes transformational dialogues.

The Metaphorical Imperative: From Trope to Narrative in "The Rainbow"

The plot of D. H. Lawrence's The Rainbow has never been an object of much fascination since commentators have generally assumed that Lawrence's dispensing with plots was a major mark of his modernity. In so far as realist plots traded on vulgarities of a plausible concatenation-Samuel Beckett's phrase-then such an assumption is entirely justified. Marking the contrast with Middlemarch, where, as he puts it, the mechanics of the Raffles affair soak so much authentic, thematic interest, Frank Kermode rightly concludes that abandoned plot.' He rejected the types of plot which the Barthesian proairetic and hermeneutic codes activate-those based on cause and effect, action and consequence (proairetic), and those which identify enigmas, build up suspense through exploitation of false leads or trails, which delay the denouement (hermeneutic). He refused to invent stories which in Kermode's phrase explain how one thing leads to another.2 Drawing on what he terms a classic distinction, Barthes identifies these explanatory plots in which the narrative units are distributed along a horizontal axis with the figure of metonymy. Such plots organize details, clear up mysteries, and further the action in obedience to the logic of sequence in precisely the manner that Lawrence refused to accept. Barthes distinguishes these metonymic type plots from those which synthesize narrative units along a vertical axis: these he identifies with the figure of metaphor.3 Based on the paradigm of resemblance, such plots locate recurrences, integrate motifs and actions, identify similarities between elements which appear to be different, and intensify mysteries instead of clearing them up. It is with plots of this kind that we shall be preoccupied here. David Lodge once noted that Lawrence is essentially a novelist, whose writings, in Lodge's fine phrase, feed metaphorically upon his own metonymies. Each successive phrase, though apparently forwarded by contiguity, unfolds deeper significance of the same facts, and in so doing, accretes a vague metaphorical meaning.4 In effect, what one critic identifies as Lawrence's three representative techniques-patterns of recurrence, exposition by scenes, and repetitive style5-all carry strong metaphorical implications. In the first, patterns of