Árpád Kovács (Budapest, Hungary). Narrative and Discourse Identity in the Artistic Prose. (The Semantic Potential of the Novel Oblomov).
The interpretation discusses the central problem of the novel Oblomov as the poetic manifest of the ontologically approached sympathy. It examines the prose language presenting modes of nature, body, action, word, sound, music, painting, writing, confession and dream with special regard to the potentials of narrative, metaphorical, symbolic and language semantics. The article attempts to explore Goncharov’s art theory and poetic views on the basis of the writing devoted to paintings such as Raphael’s Sistine Madonna as well as Kramskoy’s Christ in the Desert.
Key words: apathy; sympathy; poesis; beauty; truth; love; the subject of dream and language in the novel; Cordelia; Norma; Madonna; poetics; narration; poetic image; metaphor; symbolic reference; index; figure; character; type.
Katerina Sokruta (Donetsk, Ukraine). The Poetics of Metanarration (Contemporary Prose).
The phenomenon of metanarration includes narrator’s self-reflexive utterances about the discourse organization, comments and reflections about the genre, style and his own status. However, by the metanarration the narrator shapes not only ideological, linguistic, perceptual, etc. points of view, but also ontological one. Metanarration in contemporary literature becomes a meaningful axis of narrative and promotes the search for narrative identity.
Key words: metanarration; metafiction; discourse; narrative identity; self-reflexive comments; contemporary prose.
Ksenija A. Vorotyntseva (Novosibirsk). Eventfulness and Daily Routine in a Lyrical Narrative.
The paper deals with the problem of eventfulness and daily routine in a lyrical narrative. The interaction of narrative and lyrical types of eventfulness is analyzed using the example of M. Shishkin’s novel Letter-Book. The literary model of daily routine is revealed.
Key words: eventfulness; lyrical motif; modern Russian prose; narrative; novel.
Olga V. Fedunina (Moscow). The Category of Implied Reader in the Criminal Literature (Introduction to the Topic).
The article grounds the need for addressing the category “implied reader” when doing research on criminal literature. A correlation is established between the genre specific features of this sphere of mass literature and various types of “ideal addressees”.
Key words: implied reader; detective; criminal literature; classical detective story; police novel; a victim’s investigation.
SPECIAL NARRATOLOGICAL RESEARCH
Vladimir V. Maksimov (Tomsk). Aesop’s The Fox and the Crow: A Narratological Reconstruction of a Fable Fabula.
The article attempts at reconstructing the fable fabula in which the position “characters (personages)” is considered to be the key one. A hypothesis is put forward that an ability to invent and give an optimal scheme of the fabula is the key feature of the fable writer’s talent and a peculiarity of the genre.
Key words: fabula; plot; event; fable writer; character; hero.
Veronika B. Zuseva-Özkan (Moscow). Jacques le fataliste et son maître by Denis Diderot: Between the Narratives by Sterne and Scarron.
This paper which is a part of the book about historical poetics of a metanovel explores a narratological aspect of the influence made on Diderot’s Jacques le fataliste et son maître by The Life and Opinions of Tristram Shandy, Gentleman by L. Sterne, on the one hand, and by French comic novels of the XVII century, especially by Scarron, on the other. The article demonstrates that Le Roman comique by Scarron developed all formal components that allowed one of the metanovel types to appear, namely the metanovel with an extradiegetic narrator. But the last step was not taken due to the lack of special interest to the relationship between novel and life, art and reality in Scarron’s book. This interest was however highly manifested in Tristram Shandy but with a different take on the subject structure of the text. Diderot unified these two branches (both originating from Don Quixote), and the traces of this operation are evident.
Key words: metanovel; novel with authorial intrusions; comic novel; philosophical dialogue; veracity and fiction; free will and predestination.
Maria D. Andrianova (Saint-Petersburg). Narrative Peculiarities of “Doubles” in Andrei Bitov’s Prose.
The article considers the “double” in Andrei Bitov’s prose. Three “doubles” – A Country Place, The Voyager and Silver-gold – represent a kind of diptychs composed of works unified by the time of writing, the place of action or by just some mutual problems. “Double” is viewed as a special narrative tactic that serves to overcome the eternal dichotomy of feelings and thoughts, life and text, object and image.
Key words: Bitov; double; narrative; postmodernism.
Vladislav Sh. Krivonos (Samara). Production of the Signs of Similarity (About the Narrative Structure of L. Girshovich’s Novel Vij, Schubert’s Song Cycle to Words by Gogol).
The article considers the theoretical problem of the narrative structure of the post-modern novel using the example of L. Girshovich’s novel. Peculiarities of the narrative intrigue and functions of the author’s comments, the mechanism of quoting and the semantics of the signs of similarity are analyzed.
Key words: postmodernism; novel; narration; sign; quote; similarity; simulacrum.
Olga A. Grimova (Krasnodar). Narrative Intrigue in Yu. Buida’s Novel Blue Blood.
The article is dedicated to the narrative intrigue in Yu. Buida's novel Blue Blood. The novel is viewed as a text organized by the archaic narrative strategy of legend about the tragic existential experience (that forms the intrigue) within the embodied fate (no intrigue is formed). Devices are considered that contribute to creation of the intrigue.
Key words: Yu. Buida's novel Blue Blood; narrative strategy; narrative intrigue; means of creating an intrigue.
Elena V. Abramovskikh (Samara). Verbal Narrative in Cinema (Yu. Vizbor’s Story Breakfast With a View of Mount Elbrus).
The article considers the way verbal narrative functions in a screen adaptation (titles, a voice-over, “an event of telling” represented by various genre discourses) organizing all the space of a film. “Literary nature” of a film is studied as an act of formal reception of the primary text that does not penetrate more complicated levels of the structure.
Key words: cinema; screen adaptation; narratology; narrative; titles; voice-over; montage; event; reception.
NARRATIVITY IN LYRICAL POETRY
Arkadij A. Chevtaev (Saint-Petersburg). Narrative Poetics in A. Akhmatova’s Early Lyrical Poetry.
The article examines peculiarities of narrative models in A. Akhmatova’s early lyrical poetry. Analysis of principles of lyrical narration in the poems included in the first books of verses Evening (1912) and Rosary (1914) reveals that representation of lyrical eventfulness realized by means of giving an event-trigger status to different mental processes taking place in the narrator or lyrical hero’s consciousness, and by means of objectivizing the smallest details of surrounding space in an emotional and psychological gesture lays the foundation of A. Akhmatova’s narrative poetics. Interaction of the lyrical subject’s microcosm and the Other’s axiological position in the structure of A. Akhmatova’s poetic narrative produces the ideologeme of a fundamental difference between female and male axiologies.
Key words: A. Akhmatova; lyrical narrative; lyrical subject; eventfulness; artistic ideology.
Lyudmila V. Tataru (Balashov). Narrative and Cognitive Nature of Lyrical Poetry (the English Poetry of the 17th – 18th Centuries).
The article is an attempt to argue the narrative character of lyrical poetry which is grounded by an analysis of a number of works by Robert Herrick and Thomas Chatterton.
Key words: lyrical poetry; narrativity; genre; Robert Herrick; Thomas Chatterton.
Arkadij A. Chevtaev (Saint-Petersburg). Critical Commentary on the Article by L.V. Tataru Narrative and Cognitive Nature of Lyrical Poetry (the English Poetry of the 17th – 18th Centuries).
The author conducts critical examination of the research approach to the study of narrative and cognitive nature of lyrical poetry presented in L. V. Tataru’s article. Analysis of the statements declared in this work discovers some vulnerability of adapting methods of cognitive narratology to lyrical texts.
Key words: cognitive linguistics; lyrical poetry; lyrical discourse; narratology; narration; eventfulness.
ACTUAL INTERNATIONAL NARRATOLOGY
John Pier (Tours — Paris, France). Is There a French Postclassical Narratology?
This brief historiographic study shows that French narratology does not divide into a “classical” narratology and “postclassical narratologies” in the way spoken of by David Herman or into the hyphenated “narratologies” identified by Ansgar Nünning. The principal players (Barthes, Todorov, Genette) turned to other pursuits, and Ricœur’s watershed Time and Narrative opposed “semiotic rationality” to “narrative intelligence” of a hermeneutic type while the disappearance of structuralist linguistics as a “pilot science” was not succeeded in France by the “renaissance” of narratology that occurred in other countries starting in the early 1990s. Theoretically oriented research on narrative continued, but not always under the label of narratology, some of it in non-literary fields. French discourse analysis appears to offer a conceptual and methodological framework for addressing the concerns of postclassical narratology.
Key words: narratology, postclassical narratology, Francophone narratology, narrative, discourse, discourse analysis.
Narratology at the conference Belye Chtenia.