Russian Postmodernist Metafiction by Nina Kolesnikof

By Nina Kolesnikof

The most impressive houses of Russian postmodernist fiction is its reliance on metafictional units which foreground elements of the writing, examining or constitution, and draw realization to the developed nature of fiction writing. a few universal metafictional techniques contain overt statement at the means of writing, the presence of an obvious narrator, dehumanization of personality, overall breakdown of temporal and spatial association and the undermining of particular literary conventions. This e-book examines the main consultant postmodernist texts and addresses the next questions: How common is using metafiction in modern Russian literature? What are its so much suggested types? what's the functionality of metafictional units? How leading edge are Russian postmodernist writers of their use of metafictional options? This research unearths the original contribution of postmodernist writers to the advance of Russian literature via their systematic use of metafiction and their daring experimentation with new metafictional units on all of the significant degrees of the textual content, together with narration, plot, characterization, environment and language.

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Whereas Part Two relies on the repetition of the adjective ȃ—˜›–Š•ǰȄ Š› ’¡ “ž¡Š™˜œŽœ ŬŲ ™‘›ŠœŽœ ’‘ ‘Ž —˜ž— ȃ—˜›–ŠȄ ǻ—˜›–Ǽǯ23 The meaning of that word varies from its standard use ’— ™‘›ŠœŽœ •’”Ž ȃœ˜Œ’Š•Ȅ ˜› ȃŽ‘’ŒŠ•Ȅ —˜›–œǰ ‘›˜ž‘ Š ˜Ÿ’Ž Ž›– for a production quota, to idiomatic phrases expressing an acceptable volume of alcohol consumption, or a satisfactory sexual relationship between partners. Almost half of the phrases play with ‘Ž ›ŽŠ• ˜› ꌝ’˜—Š• —Š–Žœ ˜ Œ‘Š›ŠŒŽ›œǰ Œ’’Žœǰ ŠŒ˜›’Žœ ˜› œ™˜›œ Œ˜–™•Ž¡Žœ ‹ŽŠ›’— ‘Ž —Š–Ž ȃ˜›–ŠǯȄ —•’”Ž Š›  ˜ ‘’Œ‘ uses the catalogue structure to convey the life story of an average Soviet citizen, the juxtaposition of phrases in Part Six essentially represents a formalistic play with homonyms devoid of any narrative function.

3 œ’–’•Š› –ŽŠęŒ’˜—Š• ž—Œ’˜— ’œ Šœœ’—Ž ˜ ™™Ž—’ŒŽœ which focus on the relationship between the author and the hero ˜ ‘Ž —˜ŸŽ•ǯ — ‘Ž ™™Ž—’¡ ˜ Š› Ŭ ‘Ž Šž‘˜›Ȭ™Ž›œ˜—Š Œ˜–ments on the importance of his hero’s scholarly profession, which allows him to concentrate on the questions of literary tradition and •’Ž›Š›¢ Œ›’’Œ’œ–ǯ ’—’ęŒŠ—•¢ǰ ‘Ž Šž‘˜›Ȭ™Ž›œ˜—Š ™›ŽŽ›œ ˜ œž–marize the ground-breaking work of his hero, rather than allow him to express his views in a direct fashion. The same control•’— ŠĴ’žŽ ˜ ‘Ž Šž‘˜›Ȭ™Ž›œ˜—Š ’œ ŽŸ’Ž— ’— ‘Ž ꗊ• ™™Ž—dix, which is designated in the table of contents as a commentary ›’ĴŽ— ‹¢ ‘Ž ‘Ž›˜ǰ ‹ž ’— ’œ ꗊ• ŸŽ›œ’˜— Ž¡™›ŽœœŽœ ‘Ž Ÿ’Ž œ ˜ the author.

On the level of linguistic narcissism, the overt techniques involve stylistic parody and word plays, 18 Hutcheon, Narcissistic Narrativeǰ ™ǯ ūǯ 29 ‘’•Ž ‘Ž Œ˜ŸŽ› ˜›–œ œ‘’ ŠĴŽ—’˜— ˜ ‘Ž œŽ–Š—’Œǰ œ¢—ŠŒ’Œ Š— phonetic texture of words. 19 Šž£Ž— œž‹’Ÿ’Žœ žŒ‘Ž˜—Ȃœ ŒŠŽ˜›¢ ˜ ’ŽŽ’Œ narcissism into narration and point of view, as well as content, ‹›˜”Ž— ˜ — ’—˜ ™•˜ Š— ŠŒ’˜—ǰ Œ‘Š›ŠŒŽ›’£Š’˜—ǰ œŽĴ’— Š— theme. She splits Hutcheon’s category of linguistic narcissism into two subcategories of language and medium, the former capturing •’—ž’œ’Œ Š— œ¢•’œ’Œ Ž¡™Ž›’–Ž—Š’˜— Š— ‘Ž •ŠĴŽ› ›ŽŽ››’— ˜ the physical presentation of text in a book.

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