This book examines the most representative postmodernist texts and addresses the following questions: How widespread is the use of metafiction in contemporary Russian literature? What are its most pronounced forms? What is the function of metafictional devices? How innovative are Russian postmodernist writers in their use of metafictional techniques?
This study reveals the unique contribution of postmodernist writers to the development of Russian literature through their systematic use of metafiction and their bold experimentation with new metafictional devices on all the principal levels of the text, including narration, plot, characterization, setting and language.
Chapter Eight - Eccentric Typography - 133
133 ! ! ) & - * $ **&!? !> ' ( traditionally ignored the physical dimension of book printing, reducing it to a solid block of print from one margin to another, ) & "& >& occasional paragraph indentation. As with the other levels of nar- rative texts, postmodernist writers exploit typography as a means of foregrounding the material properties of the book and of draw- ") ! ! &"G ! '1 In their experimentation with varied typographical devices, $ ) ! * " > "! ! eliminate print as the vehicle for the semantic coherence of the ' & ! medium depend on the unusual use of font and space. The change in font alone is not a bold or innovative technique, but when it is "!& )") !& type sizes, as well as the employment of boldface and upper-case & *> ! ) & &' !& & ! > *HPushkinskii dom, Sorokin’s 1 McHale, Postmodernist Fiction>'\:};^:;' 134 Norma> * *HMaster Khaos, but it is the most daring X G HV poiskakh poteriannogo prostranstva (In Search of Lost Space), )! " & typefaces matched by a constant change between them.2 This ! *>" + ?- >/ &* * - - ogy and ancient mythology, and important historical events with a E ) '@ ) "! H & * ! - parent and clearly marked in the text by the same small size italics, H) ! to follow due to the excessive use of parenthetical information ren- & & L'& - tain several parentheses and parentheses within parentheses, each containing supplementary or contradictory information, making * '@ * ">)- * > &>& "! the constant switch between varied typefaces and type sizes. B G &! *!"!DG Pelevin in his Shlem uzhasa which introduces numerous graphic symbols borrowed from the Internet protocol, such as smiley and anti-smiley faces, as well as...
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