Postmodern Literature Research Articles

Analysis of the "anti-hero" image of Camus' characters

Sean Farrand says, the hero is entirely a product of society. A paradigm that is recognized by society is given the title of hero because it is adapted to the needs of society. The creation of a hero is therefore inseparable from society. In today's society, hero is often the most glorious and sacred title we can bestow on a person. A hero is one who goes forward and is heroic, while an anti-hero is a term that stands in opposition to a hero. The anti-hero was born in the post-modernist literature of the twentieth century and is not as great as the hero. On the contrary, most of them are just ordinary people who do not want to follow the laws of society and are hardly disturbed by the outside world, preferring to listen to their own inner thoughts and pursue their own freedom. They are independent and sober in a world of disturbances, and from another point of view, they are also lonely and lost. But when faced with hardship or a great setback, they will not choose to give up, but try to persevere to reach their goals, even though sometimes their goals are difficult to achieve. Most of Camus’s characters are typical of the anti-heroes, who occupy an important place in the works of postmodernism.

COMPOSITIONAL AND NARRATIVE PECULIARITIES OF THE POSTMODERN NOVEL (BASED ON D. MITCHELL’S NOVEL “CLOUD ATLAS”)

The article focuses on establishing genre, compositional and narrative features of the postmodern novel based on the novel “Cloud Atlas” by D. Mitchell. It is argued that postmodernism in literature gets impacted not only on the content (themes of spiritual values loss, loss of contact with space, disharmonious states, multiplicity of worlds and their interpretations, relativity and illusiveness of the universe) but also on the form (certain structural and compositional characteristics) of literary works. It has been found out that a non-linear multiply fragmented composition of the novel in question is formed owing to interchangeable alteration of diegetic planes “deep down”, every following plane serving the hypodiegesis for the preceding one. This way a hyper-hypodiegetic entity is being created as a vertical structure of the main architectonic blocks of the novel. Variety of genres within the compositional structure of narratives has been stated, from a diary through a correspondence, a detective story to science fiction utopia. The type of each of the six narratives has been substantiated as a combination of the two factors: a narrator’s or a personage’s relation to the story told, on the one hand, and a narrator’s status concerning the level of narration, on the other. It has been described the realization of such structural and compositional devices, which contribute to the textual categories of unity and conceptuality, as: the device of mirroring composition, the device of montage, using a literary image as a means of coherence in the novel, the device of coordinating, the device of circular composition. The device of mirroring composition which serves to reinforce the motif of power and human greed, the device of montage which links different parts of the novel through a common emotional and content thread – the motif of a soul reincarnation and cyclic historical events and the device of using a literary image (identical inner world, a recognizable protagonists’ soul acting in all the six narratives) ensure textual coherence in the novel.

Специфика воплощения авторской маски в романе В.П. Аксёнова «Ожог»

The specifics of the functioning of the author’s mask in the novel by V.P. Aksenov “Burn”. The author’s mask is considered as a means of positioning the author in the text. The concepts of “author’, “narrator”, “author’s mask” were used for the analysis. For the first time, the phenomenon of the author's mask in the novel “The Burn” was subjected to a holistic study. As a result of the study, it was found that in the novel by V.P. Aksenov, thanks to the branched system of author’s masks, a complex and multidimensional narrative space is created. Through the mask as an image of a “possible other”, the prose writer comprehends the topics provocative for the aesthetics of late socialism: the relationship of the artist with the authorities, the homeland, the existence of a creative personality in a totalitarian state. The system of Apollinarievich’s author’s masks demonstrates not only the possible options for the personal fate of the “author of the real”, but also the behavioral strategy for the survival of a thinking and thinking intellectual within the framework of a totalitarian system. The author’s mask of Tolya von Steinbock is introduced by Aksenov into the novel in order to fully reflect his own “Magadan” childhood, to present a complex psychological self-portrait. The key means of creating author's masks are, firstly, numerous autobiographical parallels and correspondences generated by the total reflection of the prose writer about himself; secondly, steady transitions from the first person to the third and, on the contrary, confusing the reader and turning the text into an experimental space of a literary game. The research materials and general conclusions can be used in university courses in the history of Russian literature of the twentieth century, special courses and special seminars dedicated to the work of V. Aksenov. Since the author’s mask is becoming quite a common technique in postmodern literature, the methodology used is quite applicable to comprehend the prose of the 1990s–2000s, where there is a play with the author’s “voices” (V. Pelevin, V. Sorokin, A. Kabakov and others.).

Historical Metafiction: Elena Ferrante’s Neapolitan Novels as a Postmodern Rethinking of History

The Neapolitan Novels (2011–14), translated into English by Ann Goldstein, are aprime example of postmodern literature, distinguished by Elena Greco’s uniquestyle of narration, structurally and ideologically. Elena Ferrante utilizes multiplenarrative techniques, including unreliable narration, self‐reflexivity, and paradoxes,to challenge existing literary and historical narratives’ rigidity and present variouspossible ways of retelling history within the text. This study draws on Linda Hutcheon’spostmodern theories of history and historical metafiction to examine the representationof history in the Neapolitan Novels. Specifically, it analyzes the novels’metatextual, intertextual, and metanarrative aspects, exploring how they challengetraditional historical narratives and present alternative perspectives on the past. Byproviding insights into the representation of history in postmodern literature, thisstudy contributes to the broader discourse on the relationship between history andfiction in contemporary literature.

Liminial Identities in Charles Dicken’s Great Expectations

The diversity of gender and the struggle of identity are considered as two of the main themes in literature equally in the classics and modernist, from the gender perspective; the male identity was reflected as supreme to the female as they were being projected in an inferior position. Yet in the post-modern literature different spaces have being emerging to create a plot where gender and identity weren’t limited to the traditional space but either liminal in one stage or rather liberal from all limitation; both of these possibilities are to be considered in this study

Issues of the formation of postmodernist literature in Japan

Issues of the formation of postmodernist literature in Japan

ANALYZING INTERTEXTUALITY IN COETZEE’S DISRACE: A POSTMODERN CRITIQUE

This paper aims at analyzing J. M. Coetzee’s use of intertextuality in his most phenomenal novel Disgrace. In postmodern literature, intertextuality plays a fundamental role as postmodern fiction sifts to historical and literary intertexts. Postmodern fiction points to the reality that by means of other texts we understand the past and that there is an intertextuality in all the historical accounts. Postmodern fiction tells us that only through its fragments, relics, and its textualized remains canwe know the past. This paper explores the intertextual presence of romantic poets in the novel and the influence of romantic period on post-apartheid minds. Lurie’s connection with the romantic poets is not of the kind to exchange of sources or sentences to assist his ideas or the transmission of his message rather he is affected to the point that he refers himself to them and follows their concepts of existence, females, history, and longing. Thus, the juxtaposition of Wordsworth, Byron and David Laurie will form the basis of this paper.

ВЕРБАЛІЗАЦІЯ КОНТЕКСТУАЛЬНОЇ ЕКСПРЕСИВНОСТІ У МОВНІЙ КАРТИНІ СВІТУ МАРІЇ ТКАЧІВСЬКОЇ

It is impossible to imagine our modern life without emotionally colored vocabulary. Indeed, thanks to these lexemes, we can express our emotions and feelings, negative or positive assessment, share our associations and ideas with close people, acquaintances. Expressive vocabulary plays a signifi cant role in revealing the images of characters in postmodern literature. The functioning of expressive lexemes plays an important role in the or-ganization of the literary text. Modern linguistics convinces us that emotional vocabulary is an important component of the system of fi gurative means of liter-ary texts. Language expressives are intended to be mediators between the sur-rounding world and the inner world of a person, between thinking and speech. A literary text as an author’s work is characterized by a multi-level structure with a complex organization and peculiar means of expressing the national pic-ture of the world. Until now, the degree of complexity of this structure remains controversial. Special attention is primarily drawn to lexical-semantic expres-sives, which act as style-forming components of literary texts, help in the forma-tion of content and are means of expression. The emotional vocabulary in the work «Voice of the Quail» can be clearly divided into two groups of lexemes: words that are already emotionally colored from the beginning. Basically, these are abstract concepts that already contain negative or positive information and expressives are the main, constant feature of these lexemes. Among this group, connotative vocabulary also has a place for expression, because it has a bright internal expression; words that acquire expressiveness in. As for colloquial speech, here emotive vocabulary is actively (naturally) used, and it performs a number of the following functions: there is an easy communication of people who are well acquainted with each other; is a means of expression for many emotions and feelings (anger, surprise, sadness, etc.).The feminine verbal picture of the work is much richer, more emotional than the verbal picture of the world of masculinity.

Postmodernist Fictions of Girlhood: "Child-Drag” in The Stain and Blood and Guts in High School

Whilst scholarship about postmodernist American literature has tended to focus on the entanglements of power, language, identity, and history, few have noted the important role played by children and child culture. Reading Rikki Ducornet’s The Stain and Kathy Acker’s Blood and Guts in High School through the lens of literary child studies can usefully demonstrate the ways in which postmodernist literature relies on depictions of childhood to interrogate language and culture acquisition, analogised in terms of parental, pedagogical and institutional control. Ducornet and Acker’s novels, in particular, use a young girl’s voice—to borrow a phrase from Acker, a kind of ‘child-drag’—to explore themes of control and female sexuality, and to demonstrate the broader difficulty of achieving some “authentic” identity, when “identity” is so often viewed as violence submitted from without. In conjunction with poststructuralist and feminist theories of identity-making, this essay will explore how both Ducornet and Acker use the form of the bildungsroman to explore how a self-effacing girlhood beset by naïve bad faith can try to transform itself—through a characteristically postmodernist disassembly of language—into a new and more authentic language of the self.

POSTMODERN PARODY AS ONTOLOGIZATION OF REALITY (BASED ON THE STORY BY D. BARTHELMY "A SHOWER OF GOLD")

The article examines the problem of postmodern parody from the point of view of its ontologizing potential, namely the interpretation within its limits of the problem of the subject. The concept of ontologization is interpreted in the tradition of the opposition to the paradigm of the philosophy of presence to extra-subjective versions of ontology, in particular the postmodern concept of intertextuality. The actualization of the parody concept as a formative tool along with the explicit or implicit accentuation of the integrity of the world picture is interpreted as a search for metaphysical grounds for the aesthetic system of postmodernism and D. Barthelemy's poetics. The article substantiates the philosophical aspect of the interpretation of parody accepted in the scientific literature as a mode of organization of the structure of the text and the form-content of the text in general for postmodern aesthetics. The universal nature of parody as an interpretive optics and postmodern technique of textual collage for literature in the conditions of the visual turn of the 20th-21st centuries is outlined. It has been found that the use of the collage technique in the form of cataloging reality as its reformatting is inherent in the poetics of D. Barthelemy. It is shown that parody for the writer is a formal and substantive principle, an artistic and aesthetic instruction, and not just a technique. The demonstrativeness, or "nakedness" of the parody is achieved by changing phrasal modes, alternating dialogues and descriptions, and visualizing the action. The structural levels of parody overlap both at the formal intertextual level and at the level of numerous pretexts and supporting semantic and symbolic series. Therefore, the transgression of parody manifests itself through the unity and separation of the coder and the decoder at the moment of forming the ethos of the fragmented text as its experience. It is concluded that grotesque and parody can be considered as synesthetic sense-generative models of postmodern literature. Parody as a vital receptive and cognitive form can ontologize the subject of the text. The grotesque is a paradoxical, finalized, objectified entelechy of parody, which is practically never ontologized and does not acquire features of subjectivity. Postmodern parody reformats the subject of the narrative and the text as a formal structure, thus giving it additional semantic dimensions.

Intertextuality in Quentin Tarantino’s Jackie Brown

Intertextuality has frequently featured in postmodern literature and film. By mixing various genres, intertextuality enables a more flexible crossing of the film’s boundaries and allows filmmakers to experiment with artistic form. The film’s style or scenes resonate through other movies creating intertextual references. Hence, intertextuality is an approach that analyzes how one text is related to already available texts and discourses. Nonetheless, the successful perception of intertextual references requires a certain degree of comprehension ability from the film’s audience. This essay examines the intertextuality of Quentin Tarantino’s film Jackie Brown. The article has the three-fold aims: first, to analyze the movie as an adaptation of Elmore Leonard’s crime novel Rum Punch; second, to highlight Jackie Brown’s tribute to the blaxploitation cinema of the 1970s; third, to focus on the film’s intertextual crossings with other movies and film genres.

Postmodernism in the Literature of the North Caucasus: Based on Dina Damian’s Novel “In your World I am a Passer-by”

The Russian academician G.D. Gachev in the middle of the 20th century put forward the theory of “accelerated development”, according to which the literary systems of minority peoples, which for a number of different reasons were delayed in their development, are able at one moment to join in a single world process and in a short time to catch up and overtake highly developed literature. In the presented article, the legitimacy of the Gachev theory is proved on the example of the North Caucasian postmodern literature, which has developed into a single school. Based on the novel by Dina Damian (a pseudonym of Madina Tlostanova) “I am a passer-by in your world”, it is shown how one “stormy genius” in the person of a Kabardian writer performs a dual task: it raises regional postmodernism to an unprecedented height, and at the same time enriches world literature with innovative poetics and a whole series of original philosophical ideas. The novel solves a number of other tasks related to clarifying the philosophical, historical, social, and aesthetic roots of postmodernism.

POETICS OF THE LITERARY SIMULACRUM

The article describes the poetic features of one of the basic terms of postmodern literature - simulacrum. The global trend of postmodernism has brought many new changes to society. Naturally, when changing society, consciousness and literature, and requirements to them, and measures to present it, are updated. Modern scholars identify three dominant properties of postmodernism. These include dialogue, play, and intertextuality. However, among the characteristics listed, there is no core of governance to organize the unity of application. Thus, simulacrum is analyzed as a universal category of post-modernist aesthetics and as a key element of the poetry of the postmodernist text. That is, it will be one of the tools to study postmodernist works. Along with the history of the origin and establishment of the simulacrum category, the historical basis in the writings of Plato in the early centuries is differentiated, the interpretation as the main term of postmodern philosophy in the research of the French poststructuralists G. Bataille, P. Klassovski, J. Derrida in the following centuries. The concepts of J. Baudrillard «Simulacrum and simulation», representations of G. Deleuze about the connections between religion and simulacrum have been comprehensively analyzed. The works of the Russian literary scholar M. Bakhtin cover theories concerning the problems of the artistic text, the author and the hero. On the basis of the theory of «Author-hero» of the scientist, the interrelation of the problem of integrity of the author and the hero with the concept of simulacrum is examined.

The influence of the manuscript on postmodern literature The modern Iraqi narrative model

يعدُّ توظيف المخطوط في السرد الادبي تغييرا يستحق الرصد ،لاسيما في العقود الأخيرة، فقد تعقبه عدد من النقاد ضمن دراسات أدب ما بعد الحداثة، لما أحدثه من علامة فارقة في تجربة السرد العراقي، لا يمكن تجاوز معطياتها نقديا وإبداعيا. لقد برزت أعمال أدبية وفقت في التعبير بنجاح عن مديات تطبيقاته الواسعة تقنية وفكرة، وبما ينسجم مع معطيات التجربة الانسانية واقتربت بشكل كبير من الواقع الاجتماعي ولم تحلق بعيدا عنه، في حين جاءت أعمال أخرى دون مستوى الطموح بسبب قصور الملكة الإبداعية، وعدم استيعاب شرائط توظيف التقنية. إن حساسية الأدب الروائي في تمثلات ما وراء السرد أسهم في تغييب الكثير من ملامحه الخاصة، لكنه في الوقت نفسه منحها خصائص جديدة قد لا تشكل تطورا بالفعل بقدر ما تهيئ لانتقالة إلى مرحلة اكثر نضجاً، وهو تطور بالقوة على حد قول الفلاسفة، سيأتي بعد أن يفهم الكثير من الروائيين أن التقليد الأعمى لن يؤدي بهم إلى نجاح أعمالهم، لاسيما إذا أخذنا في الحسبان من يرى محدودية أفق هذا النوع من الكتابة، ويبشر بانحساره قريبا على الرغم من تزايد معدل الكتابة به عربيا وعالميا. من هذا المنطلق نعدٌّ ما وراء السرد مرحلة أسهمت في تطوير أدوات الكاتب العراقي لا سيما بعد أن زاوج الكثير منهم بين أصول التقنية الوافدة وخصوصية التجربة المحلية.

The Literature of Absolute War: Transnationalism and World War II

The Literature of Absolute War: Transnationalism and World War II

The “Special Charm” of Arkady Ivanovich Svidrigailov

The article attempts to unravel what the special “charm” of Svidrigailov, the hero of the F. M. Dostoevsky’s novel “Crime and Punishment,” suggested in the article by B. N. Tikhomirov, is for the modern reader. As he develops the “characterology and psychology of a new type” with inspiration (B. N. Tikhomirov), the writer reveals the “prototype” of the modernist and postmodernist hero in the image of Svidrigailov. The techniques include the creation of “novel within a novel” within the work in the form of a “Svidrigailov text.” The article shows that Svidrigailov’s “charm” is revealed as the charisma of a hero who stepped from the 19th into the 20th century. Dostoevsky not only influenced the literature of postmodernism, but also created a prototype of a postmodern novel, in which the narrative is structured as that of the hero, rather than the author, and where the laws of cryptopoetics, fragmentary composition, shifting narrative plans — from real reproduction of events to illusory-dreamlike, and even delusional associations of the hero prevail. The article concludes that Dostoevsky’s hero is close to the contemporary hero of modernism and postmodernism with his attitude to the game and mythologization, his irony, cynicism, lack of faith, theatricalization of life collisions, integration of the levels of being and non-being.

CONNECTIVIST APPROACH TO THE ANALYSIS OF RELIGIOUS SYMBOLS IN SLOVAK POSTMODERN LITERATURE

The Purpose of the Study is the analysis of spiritual symbols in the works of Slovak postmodernists - D. Dušek, D. Mitana, P. Vilikovsky and M. Vadas, as well as the verification of the principles of connectivism within the framework of literary studies. The Research Methodology is based on hermeneutic and deconstruction methods, as well as on the connectivist approach, which allow the interpretation of deconstructed motifs at the level of connecting individual elements into a secondary semantic network. The Scientific Novelty of the research lies in the fact that for the first time in Slovak literary studies, connectivism was used for the study of postmodern literature. It is concluded that a complete denial or confirmation of religiosity as such can be achieved, for example, by combining religious meanings from different novels. The Conclusions. The analysis of religious symbols with the principles of connectivism shows how the authors reveal the strong desire of humanity to have a stable core, which is absent in modern society. Therefore, considering how much evil has been committed in the world, the writers choose a version that describes the reign of Lucifer himself. Slovak postmodern literature works FeliksSHTEINBUK, Vanessa STRAPAC MASSAYOVA6 Innovations in the scientific, technical and social ecosystems. Issue 4. 2022hard to create its own models of reality, in which authors allow their stories to arbitrarily organize and create connections between the material and transcendental realms, thus providing a unique perspective on the complex system of reality

Reconsidering the Past

Those in power often use carefully constructed historical narratives to justify past injustices. Nevertheless, with the rise of postmodern literature, including historiographic metafictions, fiction authors have challenged traditional historicism while problematizing historical justifications for past injustices. Joy Kogawa uses postmodernist literary devices in her novel Obasan, presenting her novel as a work of historiographic metafiction. However, the political, social, and historical contexts in which Kogawa uses such devices reveal that Obasan’s historiographic metafictional qualities self-reflexively evoke a reconsideration of the official historical accounts that attempted to justify Japanese Canadian internment.

Unusually Combined Lexemes as Means of Creating Uncertainty in English Postmodern Short-Short Stories

The issue of words combinations draws attention of linguists starting from the second half of the XX c. until the present day. This study is focused on the research of semantic mechanisms of unusually combined lexemes and unexpected collocations in English postmodern short-short stories. Reconsideration of the literary past and ironic view on traditional poetic canons are reflected in postmodern literary texts due to the principles of postmodern poetics. Being distinctive feature of postmodern literature in general, uncertainty creates multiplicity of meanings of entire literary text, as well as separate unexpected collocations, by means of unusually combined lexemes. The aim of the study is to elaborate the phenomenon of valence violation, created by unusually combined lexemes and unexpected collocations in English postmodern short-short stories. To achieve this goal, it is necessary to define the notion of valence and lexeme compatibility, to identify types of valence violation in lexemes combinations, and to provide their possible interpretation. Functioning in English postmodern short-short stories such language units widen boundaries of their usage and their combinatorial profile. Unusually combined lexemes focus the reader’s attention and provoke a cognitive mechanism of continuous searching for a hidden meaning of unexpected collocations and the general message of a literary text. In this research unusually combined lexemes are regarded as special markers of postmodern short-short story genre for which violation of text structure, violation of usual relations between lexemes in logic, semantic and syntactic aspects are quite common.

A Study of Paradigms and Theoretical Key Words of Asian American Literary Criticism

A Study of Paradigms and Theoretical Key Words of Asian American Literary Criticism