Narrative Art Research Articles

EPISTOLARY PROSE AS A LITERARY PHENOMENON

This article is devoted to the problem of genre evolution and poetics of Kazakh epistolary literature. The phenomenon called epistolary prose was generated by the transformation of writing as a speech genre into a kind of artistic narrative. Works in the form letters of provide an opportunity to fully realize the illusion, which is fundamentally important for literature as an art form, – to present a fictional statement as authentic. This specificity of epistolary literature should have guaranteed philologists' close attention to it. But at this time in literary studies there are many gaps in its study. For example, such a criterion as the scope of the meaning of the key concept of «epistolary prose». This concept often includes all works whose text is designed letters (a letter) of a character, regardless of whether a) the correspondence presented in it is fictional or the basis of the text of the work was real letters; b) whether the hero implements a communicative task in the messages (epistolaries) or other intentions dominate. To solve these problems, a real study was undertaken, the subject of which was the peculiarities of genre evolution and poetics of Kazakh epistolary prose. The study assumes a fairly wide range of practical application of the results obtained: in university and school teaching of Kazakh literature, reading theoretical courses – theory of literature and poetics, in special courses and seminars, when developing new directions in the study of modern prose.

Mari folk Songs in the Artistic Structure of S. G. Chavain's Novel "Elnet"

The article examines the folklore intertext of the novel "Elnet" by the classic of Mari literature Sergey Grigoryevich Chavain at the level of folk songs, reveals their place in the artistic structure of the novel text, analyzes their role in revealing the people's perception of the world and the nature of the creative personality of the intellectual-Mari, in the expression of the author's ideas. The song texts of the novel, directly borrowed from folklore or reworked by the author, as well as created by Chavain himself in the likeness of the content and stylistics of folk-poetic works, give the artistic narrative romantic sublimity, poetry, drama and national specificity, strengthen the author's concept of the world and character. The methodology of the research is determined by the structural and semantic analysis of the works. The article for the first time identifies and describes in detail the semantic and typological components of the folklore-song intertext of Chavain's novel "Elnet", its significance for the expression of its artistic content. It is proved that the song texts of the novel mostly reveal the traditional cultural way of life of the Mari people, their natural existence, orientation to myths and ideals (labor songs; ritual songs: wedding, including lamentation songs; lyrical, mainly love and orphan songs). They are directly related to the national issues of the novel and the author's concept based on the uniqueness of the Mari people and their culture. A lot of space is occupied by songs that highlight the difficulties of the pre–revolutionary social life of the Mari people, the inequality of ethnonational existence, which became the reason for the formation of revolutionary predilections in the popular environment (recruiting - about seeing off to war, orphans, lamentations). This folklore intertext helps to clarify the ideological and moral quest of Mari in the pre-revolutionary era, the search for ways of social and national liberation brewing in the depths of the people.

Американский кинематограф, ФБР и пропаганда: образ внутреннего врага (1941–1942 гг.)

Introduction. The period 1941–1942 became a time when American art was rapidly rebuilt on “military rails.” Cultural figures in every way reinforced the morale of American soldiers and were engaged in justifying various actions of the government through a more accessible and understandable language of artistic narrative. Methods and materials. The rich material of the archive of the FBI, the army and other US security services allows a better look at how the cinema obeyed the propaganda needs of the warring power. The article is based on the principles of historicism and systematics, as well as the methods of historical comparativistics and imagology (discourse-analysis, analysis of audiovisual representation and some others). Analysis and results. It is quite clear that cinema played a special role in these processes – the most massive and popular type of art, which in the previous two decades became the most common form of leisure for Americans. This article is devoted to the use of cinema to justify the initially extremely unpopular measure of the American government to intern the Japanese in concentration camps in the light of the entry of the United States into World War II.

To Fight a Great War with Little-narrative

Slaughterhouse Five is a well-known postmodern anti-war novel, and when it comes to postmodern literature, it is inseparable from Lyotard's meta-narrative theory. However, there are few articles nowadays that link the two to study the narrative technique to deepen the meaning of anti-war. This paper analyzes the narrative art of Slaughterhouse Five from the perspective of Lyotard's meta-narrative theory in The Postmodern Condition - A Report on Knowledge. It aims to better analyze the significance of Slaughterhouse Five's narrative art in the context of the anti-war theme. The article summarized the narrative techniques by analyzing the content of selected passages of the novel and analyzed them in the context of meta-narrative theory. Thus, it will discover that the little narrative and unique postmodern narrative features it employs deepen its anti-war theme. This finding will fill the gap between the two connections, not only deepening the anti-war theme of Slaughterhouse Five, but also better presenting Lyotard's meta-narrative theory in a more visual form.

Looking Back inKewekapawetan: Return After the Flood. Research, Remembrance and Reclamation of a Hydro Story

This essay analyses Jennifer Dysart’s 2014 documentary film Kewekapawetan: Return After the Flood, which tells the past and present-day story of the Northern Manitoba Ithinew (Cree) community South Indian Lake and its entanglement with Manitoba Hydro. Dysart documents the history of colonial hydro policy by showcasing rare archival footage from the late 1960s and reclaims this material for the community she has roots in. At the same time, she records her search to learn about her father’s life and her efforts to reconnect with family by spending time on the land. Discussion between author and filmmaker throughout the research and writing process engages “visiting” as a methodology for studying Indigenous narrative arts. Ultimately, Dysart’s visual storytelling is a critical site of knowledge-making about the dislocation caused by large-scale resource extraction that foregrounds reconnection to family, community and land.

Contemporary Art and Sufi Aesthetics in European Contexts

This article examines the work of seven contemporary artists whose aesthetics exemplify the “lived” experience of Islamic mysticism or Sufism (Arabic tasawwuf) within a European context. The work of artists born in Islamic majority countries and familiar with “traditional” Sufi idioms and discourses, but now immersed in Western culture, is often associated with “diasporic art”. From this hybrid perspective some of their artistic narratives reconfigure or even subvert the “traditional” Sufi idioms, and do so in such a way as to provoke a more profound sensory experience in the viewer than traditional forms of art. Drawing upon recent methodological tendencies inspired by the “aesthetic turn”, this study explores post- and decolonial ways of thinking about Sufi-inspired artworks, and the development of a transcultural Sufi-inspired aesthetic within the context of migration and displacement over the last half-century.

Grandmother as a Narrator in Raja Rao’s Kanthapura – A Critique

For any literary work, the narrative technique constitutes one of the essential requisites. How the art of narration is chiseled in a literary work is what lends it artistic and emotional credibility. In Kanthapura, Raja Rao experiments with the narrative technique. The novel is presented from the viewpoint of an old grandmother who relates the tale of the brave resistance of the people of Kanthapura to expel the British from India. The ancient Indian Puranic method has been preferred to the western narrative technique, which according to Raja Rao, suits the Indian credo and climate. In Kanthapura, Raja Rao sought to defamiliarize the English language by bringing to the standard English form Indian thought and feeling, Indian culture, and Indian ideology. The present paper essays to investigate how Raja Rao used different elements and structures in narrating Kanthapura as experimenting tools to lend the novel a lasting artistic quality that served the purpose he had in mind. The reliability of the narrator in her description and narration of incidents and characters will be under scrutiny.

Thanh Tâm Tuyền and the literature of freedom

Thanh Tâm Tuyền (1936–2006) was a great writer of South Vietnamese literature in the 1954–1975 period. His works are extremely diverse in genres, having made remarkable contributions to the modernization of Vietnamese literature in many aspects. However, in general, critics have drawn more attention to Thanh Tâm Tuyền’s unique innovations in poetry rather than his prose fictions whose achievements are also very notable in fact. On the basis of reading Thanh Tâm Tuyền’s short stories and novels from the perspective of narratology, poetics and existentialism, the paper contributes to analyzing, explicating and interpreting his narrative art. Specifically, we argue that freedom is an important core in Thanh Tâm Tuyền’s fictions and even in his entire writing career. Firstly, Thanh Tâm Tuyền had a special narrative style, with which he did not create narrative worlds, situations and characters as the mediums of his ideological statements and conclusions, but very discrete ones, sometimes full of structural flaws and incompletedness, which, however, can stimulate his readers to freely figure out and contemplate various metaphysical problems in their own way. Second, the article presents an understanding of the nature of life suggested by Thanh Tâm Tuyền’s prose fictions, which is also related to the concept of freedom: his short stories and novels, to some extent, indicate human suffering of living without freedom, with the term understood as being honest with oneself to escape from illusions and invisible impositions.

LINGUISTIC-COGNITIVE SCENARIOS OF NATHALIE SARRAUTE'S ARTISTIC NARRATIVE

The article is devoted to the study of the development of linguistic-cognitive scenarios of the artistic narrative of the New Novel period’s writer Nathalie Sarraute. Based on the material of the analysis of Nathalie Sarraute's novels "Enfance", "Le Planétarium" was demonstrated that the chosen methods and techniques depend on the type of narrative and various characteristics of the text. It was determined that the meaning-making components of the linguistic-contextual model of the spiral, which is the basis of the linguistic-cognitive scenario of the SPIRAL narrative, are the retrospectivness and fragmentary nature of the narrative. It has been studied that Nathalie Sarraute’s artistic narratives also belong to the linguistic-cognitive scenario of the MOSAIC narrative, the compositional dominants of which are the detailing and framing of the narrative image. It was confirmed that linguistic-cognitive scenarios of the narrative provide for the interrelationship of syntactic, semantic, cognitive and semiotic levels, which format the plan of expression of the script construction of the novels. It was investigated that linguistic narrative scenarios exist if lexical, syntactic, and stylistic units form scenario schemes or structures in the text and give rise to the dynamics of the development of scenarios of artistic texts, and are also the embodiment of the author's vision of the world, conveyed through the use of artistic means and techniques by writers in the text. Thus, the artistic texts of N. Sarraute are characterized by a non-linear cognitive-narrative scenography, which is a set of linguistic-cognitive narrative scenarios, namely a spiral and a mosaic.

Метафора как речевое действие в фреймовой модели

Introduction. Earlier studies of the frame organization of the artistic narrative allowed us to come to the conclusion that, firstly, ontological frames-determinants can predetermine the narrative structure of both extended fragments of the narrative text and small fragments limited by the semantics of the local frame; secondly, the semantic-syntactic frame can be considered as a standard linguistic unit with a standard integral structure and semantics, as well as stable naming. Materials and methods. In the proposed approach, a speech frame represents a linguistic expression as a speech action, the content and performance of which is described in a propositional aspect. The use of a metaphor in the text itself is a standard speech action that includes a metaphorical expression in the context, while the meaning of the metaphor is determined by the linguistic and pragmatic context. A metaphor (from a word to a detailed construction) can be considered as a speech action of the speaker by virtue of the fact that the act of metaphorical comparison itself, contained in a metaphor, can be described in terms of propositions. Plot-forming semantic-syntactic frames in an artistic narrative are considered as stable linguistic units with stable conventional meanings and corresponding stable names. Analysis. The semantic-syntactic frame should be considered as a standard semantic model of a typical situation (everyday, communicative), in which the structural and content elements of the semantics of the frame, namely propositions, their predicates and terms filling the terminals of the frame, correspond to certain language expressions for their representation in the surface structures of the narrative. The initial thesis is that from the point of view of the tasks of describing relevant parameters, it is advisable to present a metaphor as a model of a semantic-syntactic procedural frame. Results. Based on the results of the study, a model is proposed in which nuclear propositions describing the basic predications of metaphorical speech action are attributed to the first terminal of the frame; to the second one – the bases of metaphorical comparison; to the third one – the conditions of the linguistic context; to the fourth one – the conditions of the pragmatic context. It is concluded that the representation of a metaphor as a speech action in the form of a procedural semantic-syntactic frame allows analyzing its semantics, structure and functions as a result of performing the corresponding actions and semantic operations displayed in the proposed METAPHOR frame model.

Функции слов-реалий в романе С. Рушди «Дети полуночи»

The article examines the features of the functioning of realia words in the text of Salman Rushdie's novel "Midnight’s Children." The delimitation of the term "realia words" is car­ried out in its comparison with the concept of "realia." The language specificity of the novel is noted, which consists of intentionally incorporating exotic vocabulary into the text without corresponding authorial commentary, the meaning of which can be understood by a non-native reader only within a specific context. Lexico-semantic groups of realia words are high­lighted, contributing to the creation of national-cultural color and referentially related to local objects and popular dishes of Indian national cuisine. The artistic pragmatics of realia words in the novel "Midnight’s Children" is characterized. The role of toponyms is characterized by their involvement in structuring the local coordinates of the textual continuum. It has been demonstrated that the nominations of national dishes used by the author serve to intensify the development of plotlines in artistic narrative. The realia words of this group function in the novel as means of creating social color, markers of significant events in the characters' lives, indicators of the characters' emotional states, explicators of the retrospective mental-cognitive activities of the subjective narrator, and also serve as the organizing link in the circular composition of the novel.

CERÂMICA E AS ARTES DO POVO NO BRASIL

The article presents a comment on popular ceramics in Brazil, considering multiple aspects on this subject. The ceramics made by the traditional people of our territory, in their modes of production and consumption, emerge as a point against the narrative of official art and culture, which is markedly Western and colonialist. Through this essay, we propose a broadening of the discussions on popular ceramics in Brazil, following up with other analyzes on the subject.

The Witch in Flight

The Witch in Flight

ПСИХОЛОГІЧНІ ЧИННИКИ РЕКРЕАЦІЙНОГО ВПЛИВУ НАРАТИВНИХ ВИДІВ МИСТЕЦТВА

Goal is to study of the relationship of coping strategies and emotional intelligence with the recreational potential of narrative arts (literature and cinematography). Methods. The Coping Strategies Questionnaire (WCQ) was used to study coping strategies, and the Emotional Intelligence Diagnostic Questionnaire (N. Hall) was used to study emotional intelligence. The following socio-demographic data were considered in the study: respondents’ gender, age and level of education. 56 respondents took part in the study, among which 47 were female and 9 were male. Results. For those who have a low level of development of these skills, narratives can serve as a negative factor that worsens their emotional state, indicate that the most frequent result of interaction with the narrative as a recreational process is the release of internal tension. The study showed that the most frequent result of interaction with the narrative as a recreational process is the release of internal tension (chosen by 48.2% of respondents), followed by calming down (23.2%), increasing the level of energy or strength (14.3%), increasing motivation (12.5%) and anxiety (1.8%). Respondents with a high level of “Managing their emotions” demonstrated a significant improvement in well-being after interacting with the selected narrative. A positive correlation was found between emotional intelligence, namely the “Managing Your Emotions” and “Feeling After Interaction” scales. For those who have a low level of development of these skills, narratives can serve as a negative factor that worsens their emotional state. It can be assumed that people with a high level of this indicator of emotional intelligence consciously or unconsciously understand what types of stories and in what way can affect their emotional state. It is assumed that the genre of the narrative (action, drama, comedy, etc.) and the features of its impact on the human condition are purely individual. Conclusions. It was confirmed that the type of narrative that can affect a person’s condition is a purely individual matter, there is no genre of cinema, literature, comics, series, etc., which can be called universal for overcoming a negative emotional state.

The Comic Storytelling of Western Japan: Satire and Social Mobility in Kamigata Rakugo by M. W. Shores

Reviewed by: The Comic Storytelling of Western Japan: Satire and Social Mobility in Kamigata Rakugo by M. W. Shores Till Weingärtner (bio) The Comic Storytelling of Western Japan: Satire and Social Mobility in Kamigata Rakugo. By M. W. Shores. Cambridge University Press, 2021. xliv, 245 pages. $99.99, cloth; $80.00, E-book. Over the last ten years or so, rakugo, the Japanese performance art of comedic storytelling, has grown in popularity and attention within the field of Japan studies. This is not only the result of increased academic interest from established scholars and graduate students; it is also because of expanding opportunities to experience rakugo without traveling to Japan. More and more performers are taking their art abroad, speaking either in Japanese with subtitles, in the language of the country in which they are performing, or in Japanese for audiences who are able to understand them. For example, academics from the field had opportunities to witness performances by Tatekawa Shinoharu as part of the online reception of the 2021 conference of the European Association for Japanese Studies and performances organized by the Faculty of Asian and Middle Eastern Studies at the University of Cambridge in April 2022. The recent pandemic may have limited such opportunities, but the larger number of Japanese rakugo performers who reach out to audiences via the Internet and share online content, both free and paid for, has also created more opportunities for interested audiences outside the country. With this greater interest in the genre, M. W. Shores's The Comic Storytelling of Western Japan: Satire and Social Mobility in Kamigata Rakugo is a timely and welcome addition to the English-language literature on the topic of rakugo and constitutes the fourth relevant monograph, following earlier publications by Heinz Morioka and Miyoko Sasaki, Lorie Brau, and Ian McArthur. 1 As the title indicates, Shores's study focuses on the rakugo tradition of Osaka and the wider Kansai region (known as Kamigata rakugo) and discusses this topic in English for the first time. While Morioka [End Page 210] and Sakaki's Rakugo: The Popular Narrative Art of Japan , published over 30 years ago, explores aspects of the history, story content, and performance techniques of Tokyo rakugo, it only briefly acknowledges the rakugo tradition of Osaka. Shores highlights Tokyo rakugo scholars' superficial understanding and lack of interest in Kamigata rakugo throughout his book. He also succeeds at providing the reader with insight into why Kamigata rakugo was often ignored or judged as being second-class to the rakugo performed within the capital, even in Japanese-language scholarship and criticism. Indeed, Shores's book can be read as a love letter for Kamigata rakugo, and the reader is often left with a smile on their face when Shores attributes the contempt of Tokyo rakugo fans to ignorance. Through the author's skilled guidance, drawing on Shores's own experiences as a comedic performer, the book succeeds in enabling the reader to identify key differences between the two traditions. Like Lorie Brau, the author of Rakugo: Performing Comedy and Cultural Heritage in Contemporary Tokyo, Shores shares his wide-ranging background and experience as an apprentice in the rakugo world, where he spent a combined four years under the tutelage of Kamigata rakugo masters Katsura Bunshi V and Hayahiya Somemaru IV. While Shores's study reflects his work as a participant observer, it constitutes less of an insider's testimonial than Brau's work. His study of Kamigata rakugo is spread out over three chapters. First, he considers the context of the art within Kamigata and Osaka and draws connections to other performing arts from the region, focusing on the sociohistorical origins of the prominent merchant class in Osaka. A second chapter provides a concise overview of the history of Kamigata rakugo, beginning with its roots prior to 1600 and then looking at the development of the genre and selected performers from the Edo period to the Reiwa era. Finally, Shores approaches Kamigata rakugo as literature, analyzing the content and form of the stories as performed by its regional practitioners. Shores presents a conversation (or what he calls a geidan, adopting the common practice of Japanese publications) with his master...

«Close the Sky» of Neda Nezdana: War, Memory, Women’s Traumatic Experience, Conscious Decoloniality

In the article, Neda Nezhdana’s play “Closed Sky” is considered in the theoretical coordinates of postcolonial studies, memory studies, trauma studies, Western European theory of evidence processing in conflict/intervention zones, feminist criticism. It is studied how this play fits into the wider context of modern Ukrainian drama about the full-scale military aggression of Russia against Ukraine. The mechanisms of transformation of one’s own traumatic experience, testimonies and individual oral narratives of eyewitnesses are singled out: first — іnto the space of communicative and discursive practices, and later — іnto a full-fledged artistic material. It was emphasized that it is fundamentally important for Ukrainians to create their own artistic narratives of the current war, to record and interpret its crimes, to include them in the global history of the colonizers’ struggle with Ukrainian identity, and to organize work with transgenerational traumatic memory around this. We must not allow the perception of the war outside of Ukraine to be dominated by narratives of the aggressor. The theatrical and performative potential of the work allows the author of the play to present insightful public stories of strong and self-sufficient Ukrainian women of various ages who suffered from the occupiers and bear witness to their crimes against humanity. “Closed Sky” in Neda Nezhdana’s interpretation turns not into a space of safety and salvation, but into a complex physical and mental labyrinth, which can be opened by unexpected trials and threats, but passing through which cures the heroine of amnesia. The creation of the play, becoming a kind of autopsychotherapy for the author, provokes opportunities for collective psychotherapy in the theater, because our joint work with the traumas of war opens for Ukrainians conscious decolonial perspectives and paves the way to their own stable and unfettered decolonial identity.

GENDER REPRESENTATION OF ARTISTIС DETAIL IN THE NOVEL OF FRANҪOISE SAGAN “BONJOUR TRISTESSE”

The article clarifies the peculiarities of the gender representation of the material world as an artistic detail of the text. The research uses a gender-oriented approach to the representation of cultural constructs, embodied in the picture of the world, the point of view of the author and the hero, the system of characters, the nature of the author’s consciousness, the object-subject system. The gender approach to the study of literature today is a form of in-depth reading and is a higher, more measured tool, in such a way that it corrects the traditional view of beautiful writing and articulates the problem of female authorship and provokes “re-reading” of classical texts. The article examines the early work of Françoise Sagan in the context of postmodern interpretations of the stylistic manner of women’s writing, artistic thinking, women’s perspective on life, women’s experience through the representation of micro-images of the material world. The material of the study is the novel “Bonjour tristesse” by Françoise Sagan. The peculiarity of Sagan’s female writing is determined by the conscious female authorship, the presentation of the image of a woman as a protagonist, and the gendermarked specificity of the narrative. The analysis of the originality of women’s creativity is carried out taking into account the positions of existentialism, theoretical concepts of feminist criticism. The work uses the main methodological provisions of structural semiotics, the concept of text, cultural dialogism, literary studies of things in texts. As a result of the research, it was found that the artistic detail, due to its special content, symbolics, compositional and characterological function, becomes an important component of the poetic organization of the text. Through the detail, the way of the artist’s artistic thinking is revealed to a large extent, his ability to express the author’s idea of the work through the objects of the material world. The gender representation of an artistic detail emphasizes the individuality of the author’s style of Françoise Sagan, the gender-psychological marking of elements of poetics, which model in the space of the artistic narrative a specifically female relationship to reality, which ensures the reading of the work as a female text.

MINDSET LANGUAGE IN LITERARY PROSE BY LINA KOSTENKO

Lina Kostenko, a representative of the Ukrainian creative intelligentsia from the 1960s cohort, recorded her vision of the historical time of Ukraine at the end of the 20th and beginning of the 21st centuries in the original prose work “Notes of a Ukrainian Self-made Man”. The work of a unique linguistic and stylistic genre, in which the themes of state formation, globalization and family, psychological problems alternate, is saturated with artistic, cultural, literary information, precedent names of world history. The volume of various information, conditionally structured according to time headings, is perceived as a certain model of a chaotic digitalized society, in which stylistic varieties of language become blurred, interchangeable. One of the key ideas of the work is language. The thoughts of the main character about the connection between language and the worldview of the people are unfolded in mini-texts of journalistic-evaluative, analytical-historical, humorous and everyday narrative. Language as an indispensable agent of social protests declares itself in its own way. The kaleidoscopic text of the notes combines different information about the concept of identity. The topic of the linguistic identity of Ukrainians is related to the conditions of survival of the Ukrainian language in various empires, numerous prohibitions, and assimilation processes that did not contribute to the full functioning of the Ukrainian language. Narration of the artistic narrative, reproduction of its emotional and expressive shades (humor, satire) is carried out using various language game techniques. Varieties of paronomasia are the most common in the author's style. Along with lexical innovations in an individual style, an important linguistic and aesthetic function is performed by syntactic-intonational units – isolated syntagms that emphasize the ironic-satirical perception of someone else’s opinion. A characteristic feature of Lina Kostenko’s individual style is the use of foreign vocabulary of terminological origin. Words from various scientific fields are organic in modern intellectual text. They not only testify to the level of the multi-style Ukrainian literary language, but also express and visualize the syntactically-intonationally and lexically-semantically linguistic portrait of the narrator, the main character of the novel. Various styles and genres of the modern Ukrainian literary language are integrated into the artistic text. It is this text-creative function of the language of the beginning of the 21st century in Lina Kostenko’s work that testifies to the active process of creating a new aesthetic and socio-cultural canon of the Ukrainian literary language.

Analysis of Simon Stranger´s novel Lexicon of Light and Darkness

The main goal of the paper is to point out the obscure model reader of the publication Lexicon of Light and Darkness by Simon Stranger, and thus substantiate our opinion on certain limits in defining the implicit reader of some texts with the theme of Shoah in relation to their goals. The analysis of the narrative was carried out through a content analysis of a qualitative nature. We work with the intentions of close contextual analysis, which means that we work only with the researched artistic narrative, or with other fiction, which we prove our claims. Prior to the analysis, the following research questions were determined: 1) How does the depiction of the effort to eradicate Jewish nationality differ in Stranger´s publication in comparison with other artistic narratives on the same subject? 2) How is the influence of the social environment on the mental orientation and maturation of the adolescent? 3) What strategies did Stranger choose in relation to the reader? 4) How does the perception of selected aspects of World War II by people living at different times in the context of Stranger´s publication differ? 5) To what extent is the text devoted to space and support for pluralistic interpretation by recipients?

An Analysis of Narrative Art in Liu Cixin’s Science Fiction

The Three-Body Trilogy is Liu Cixin’s masterpiece. Since its publication, it has gained widespread attention from both domestic and international literary circles and science fiction enthusiasts, attracting a large number of scholars to study it from various angles. The novel presents a unique narrative art in its narrative language and structural arrangement, and its narrative style demonstrates Liu Cixin’s superb narrative skills. Using the trilogy as a specific study text and applying theories related to narratology, this article analyses the narrative art of the novel from two aspects, language and mode, and discusses the unprecedented aesthetic experience it brings to readers.