Features of narrative technique in Mrs. Dalloway's novel. Romance without mystery

Modernist", "experimental", "psychological" - these are the definitions artistic method V. Wolfe, an English writer whose work throughout the 20th century has been in the center of attention of both foreign and domestic literary criticism.

The degree of study of the creative heritage of V. Wolf in foreign literary criticism can be evidenced by a number of scientific and critical works. It seems possible to single out several areas: the study of the aesthetic views of the writer1, her critical and social activities, the analysis of the artistic specificity of individual works and the creative laboratory as a whole3.

A special and, perhaps, the most significant and fruitful direction is the study of the philosophical and artistic concept of space and time in the works of V. Wolf. Let us dwell on this problem in more detail, since it is closely related to the question of the origins of creative method writers.

Thus, M. Chech, a researcher of V. Wolfe's work, notes that the writer's concept of time was largely influenced by the works of De Quincey, L. Stern and the works of Roger Fry4. On De Quincey's Suspiria

1 Fullbrook K. Free Women: Ethics and Aesthetics in Twentieth-century Women's Fiction. L "1990. P. 81-112.

2 Takei da Silva N. Virginia Woolf the Critic // Takei da Silva N. Modernism and Virginia Woolf. windsor. England, 1990. P. 163-194.

O.Love Jean. Worlds in Consciousness: Mythopoetic Thought in the Novels of Virginia Woolf. L.A., L., 1970.

4 Church M. Time and Reality: Studies in Contemporary Fiction. Chapel Hill. The University of North Carolina Press. 1963. P. 70. de Profundis” in the article “Impressioned prose” (“Impressioned prose”, 1926) was written by V. Woolf herself. She noted that in this author there are descriptions of such states of human consciousness, when time is strangely prolonged, and space is expanding1. De Quincey's influence on l.

Woolf also considers H. Meyerhof significant. He cites the confession of De Quincey himself, who, analyzing the state of drug intoxication, noted that the sense of space, and then the sense of time, changed dramatically3. So, it sometimes seemed to him that he had lived a hundred years in the course of one night, since the feeling of the duration of what was happening went beyond any reasonable framework of human understanding. This remark by De Quincey coincides, according to H. Meyerhof, with the amazing effect of stretching and saturation of time in W. Wolfe's novels, especially in Mrs. Dalloway. So only one day is able to embrace the whole life, as a result of which, the scientist believes, it can be argued that a time perspective is being introduced, which is strikingly different from any metric order.

Turning to the influence of L. Stern, it should be noted that the aesthetic principles expressed in his works are in many respects similar to the concept of time, based on a continuous stream of images and thoughts in the human mind4. In addition, W. Wolfe, like Stern, did not trust factual knowledge, using them only as an auxiliary

1 Woolf V. Granite and Rainbow. London. 1958. P. 39.

Meyerhoff H. Time in Literature. University of California Press. Berkeley. L. A., 1955. P. 25,

3 Stated no: Madelaine B. Stern. Counterclockwise: Flux of Time in Literature // The Sewance Review. XL1V. 1936. P. 347.

4 Church M. Op. cit. P. 70. means for further perception of reality is already at the level of imagination1.

Mentioning the influence of her friend, the post-impressionist Roger Fry, on the writer, one can, in particular, refer to the work of John Hafley Roberts "Vision and Desing in Virginia Woolf", in which the researcher notices that V. Woolf also tried to "photograph the wind" . Here she followed Fry's belief that real artists should not create pale reflections of reality, but strive to convince others that there is a new and completely different reality.

In addition, researchers of V. Wolf's work often notice that the opposition of internal time to real time in her novels correlates with Anri Bergson's theory of "la duree", or psychological time. Thus, Floris Delattre argues that the concept of duration, with which Bergson tried to explain the foundations of the human personality in its entirety and integrity, is the center of the novels of Virginia Woolf. Being entirely in “real duration” (“real duration”), the writer connects psychological experiences with an element of constant qualitative and creative duration, which is actually human consciousness. According to Shiv K.Kamer, the action in the works of V.Wulf lies solely in a continuous stream of emotional moments, when the duration, being the past

1 Hafley J. The Glass Roof. Berkley and Los Angeles. California. 1954. P. 99.

1 Roberts J.H. Vision and Design in Virginia Woolf. PMLA. LXI. September. 1946. P. 835.

3 Delattrc F. La durcc Bergsonicne dans le roman dc Virginia Woolf // Virginia Woolf. The Critical Heritage. Paris. 1932. P. 299-300. in motion, constantly enriched by the newly born present.

In Henri Bergson's theory of “la duree”, the traditional chronological perception of time is opposed to internal duration (“inner duration”) as the only true criterion on the path to the knowledge of aesthetic experience and experience.

Therefore, time in the works of modernist writers is almost always interpreted as a kind of fourth dimension. Time in the new creative understanding becomes an immeasurable entity and only symbolically personified and denoted by such concepts as hours, days, months, or years, which are only its spatial definitions. It should be emphasized that time, having ceased to signify an expanded image of space, becomes the very essence of reality, which Bergson calls a sequence of qualitative changes that penetrate and dissolve into each other, do not have clear outlines and are “becoming”2.

The Time of Consciousness” is symbolically presented to many novelists of this era as a flowing river of memories and images. This endless stream of human experiences consists of elements of memory, desire, aspiration, paradox, and anticipation continuously mixing with each other, as a result of which a person exists as if “in a mixed time, in the grammatical structure of which there are only pure, unalloyed tenses, created, it would seem, only for animals"3.

2 Bergson H. Mater and Memory / Trans, by N.M. Paul and W.S. Palmer. L., 1913. P. 220.

3 Svevo H. The nice old man etc. L., 1930. P. 152. 6

The basis of the theory of psychological time is the concept of constant movement and variability. In this understanding, the present loses its static essence and continuously flows from the past into the future, merging with them. William James calls this phenomenon the "specious present"1, while Gertrude Stein calls it the "prolonged present".

According to Bergson, nothing but our own soul flows through time - this is our “I”, which continues, and the reason why experience and feeling are a continuous and endless stream of mixed past and present lies in the laws of associative perception of the world3 .

However, in later studies4 scientists come to the conclusion that Virginia Woolf never read Bergson and could not have been influenced by his philosophical teachings. On the other hand, the works of the writer confirm the existence of a certain parallelism between the technique of the novels of the "stream of consciousness" and the "perpetual motion" of Henri Bergson. As for the “Bergsonian” mood in Mrs. Dallow-hey, it most likely arose after the author had read the works of Marcel Proust. In Proust, in one of his letters to a friend, Antoine Bibesco, we find an interesting remark that, just as there is planimetry and the geometry of space, so the novel is not only planimetry, but psychology embodied in time and space. Moreover, time, this "invisible and elusive substance", Proust persistently tries to

1 James W. The Principles of Psychology. Vol. I. L., 1907. P. 602.

Stein G. Composition as Explanation. London. 1926. P. 17.

J Bergson H. An Introduction to Metaphysics / Trans, by T.E. hulme. L., 1913. P. 8.

4 See, in particular, Lee H. The Novels of Virginia Woolf. L., 1977. P. 111. The fact that the understanding of time by W. Wolfe is largely connected with the name of Marcel Proust and his concept of the past is also mentioned by Floris Delattre2, referring to the entry in the diary of W. Wolfe herself, in which she admits that she wants to “dig out beautiful caves "behind the shoulders of their heroes, caves that "would connect with each other and come to the surface, to the light, precisely at the present, current moment in time" "*. And this, as the researcher believes, is close to the Proustian understanding of memory and human immersion in everything they have experienced before.

In addition to the above-mentioned iconic figures of the turn of the century, James Joyce had a significant influence on the works of W. Wolfe (and especially on the novel "Mrs. Dalloway").

Thus, William York Tyndell claims that in "Mrs. Dalloway" W. Wolfe takes the structure of "Ulysses"5 as a model, while H.-J. images are different. In Joyce, according to the researcher, everything is an endless stream, while in Wolfe the soul is that which is spatial. Ruth Gruber, in turn, believes that in both Mrs. Dalloway and Ulysses, the Aristotelian unity of place, time, and action is revived. Solomon Fishman, on the other

1 Letters of Proust. L., 1950. P. 188.

2 Delattre F. Op. cit. P. 160.

3 Woolf V. A Writer's Diary. N. Y., 1954. P. 59.

4 Delattre F. Op. cit. P. 160. Tindall W.Y. Many-levelled Fiction: Virginia Woolf to Ross Lockridge // College English. X.November. 1948. P. 66.

6 Mayox H.-J. Le roman de l "espace et du temps Virginia Woolf. Revue Anglo-Americaine. VII. April. 1930. P. 320.

7 Gruber R. Virginia Woolf: a Study. Leipzig, 1935. P. 49. 8, states that Joyce and Wolfe are profoundly different from each other, since their inherent aesthetic values ​​in one are associated with the Thomistic tradition, which preached contemplation, and in the other - with Ra. I tsionalisticheskoi traditions of humanism.

Remarkable, in our opinion, is the common feature of the novels by Wolfe and Joyce, noted by Floris Delattre 2. The researcher points out that both writers are trying to connect the tiny, inconsistently created universe of one person (human time) with the huge universe of the city, symbolizing a mysterious whole, “ all" (universal Time). In both Woolf, as Floris Delattre suggests, and Joyce, this contrast between human time and city time has a double meaning.

The American literary scholar Hans Meyerhof, in a more detailed comparative analysis of "Ulysses" and "Mrs. Dalloway", notes that the day in both novels is only a plausible present ("specious present"), the chaotic variety of temporal connections within human consciousness is deliberately opposed to the relative simplicity of the objective, metrical and orderly time in nature. What is also common is that the streams of life in both Ulysses and Mrs. Dalloway are strung on a single symbolic frame, consisting of common memories and references, which is, moreover, the basis of the unity of the narrative4.

Such, in general terms, is the panorama of aspects of the study of V. Wolfe's work in foreign literary criticism. A slightly different picture

1 Fishman S. Virginia Woolf of the Novel // Sewance Review. LI (1943). P. 339.

2 Delattre F. Op. cit. P. 39.

3 Meyerhofl H. Op. cit. P. 39.

4 Meyerhoff H. Op. cit. P. 39. lived in Russian Wolff studies, which tends to analyze the formal content component of the writer's works. At the same time, the judgments of contemporary critics1 about the artistic style of V. Wolf made it possible to form a certain mythological metatext, equally remote from both the aesthetic ideas of the writer and artistic structure her works. In the most general terms, the myth regarding the idiostyle of W. Wolfe looks like this: the writer’s books are devoid of a plot, they break up into separate sketches of the internal states of various persons, made in an impressionistic manner, due to the lack of a certain narrative intrigue that links the individual fragments of the work into a single whole; in Woolf's novels, there are no plots and denouements, as well as main and secondary actions, as a result, the whole action turns out to be inconsistent, devoid of logical causal determination; the smallest details, joyful or sad memories, arising on an associative basis, overlap each other, are fixed by the author and determine the content of the book. From the point of view of classical, traditional literary criticism, the created picture is beyond doubt, but at the same time it gives rise to an endless series of questions, the main of which is what is the essence of the experiment undertaken by V. Wolfe, and what are the narrative techniques that result in the above picture , - remains unanswered, because the above series of statements states the general trends in artistic

1 See: Zhantieva D.G. English novel of the 20th century. M., 1965.; Zhluktenko N.Yu. English psychological novel of the 20th century. Kyiv, 1988.; Nikolaevskaya A. Colors, taste, and tones of being // New World. 1985. No. 8.; Dneprov V. A novel without mystery // Literary review. 1985. No. 7.; Genieva E. The Truth of the Fact and the Truth of the Vision //Vulf V. Selected. M., 1989. thinking of the era of modernism. Thus, the main milestones in the study of the structure of the narrative by W. Wolfe have been outlined by domestic literary criticism, but in general the issue remains unresolved. In this regard, the problem of choosing the direction of research arises.

The first step in this process is the classical theory of mimesis. As N.T. Rymar notes, “the isolation and alienation of the individual, the collapse of conventional systems in the 20th century leads to a deep restructuring of the classical structure of the mimetic act - mimesis itself becomes problematic: the collapse of a generally significant “myth” and isolation, alienation of the individual from the collective deprive the artist of the language, in which he could speak with the recipient, and the subject associated with this language.

The process of freeing the artist from the “ready-made” material dates back to the Renaissance and the 17th century, and in the era of romanticism, the artist himself becomes the creator of new forms, a new myth and a new language. However, he expresses his personal experience in the language of culture - the language of genres, plots, motifs, symbols from the culture of the past and present. In the 20th century, in a situation of individual isolation, the diverse forms of cultural languages ​​can no longer be completely “one's own” for an individual, just like the world of culture as a whole, which appears before him as a stranger2. A classical work, as a rule, is included in the existing system of genres, continuing in its own way a certain series of works and dialogically correlating with this series, as well as enclosing it.

1 Rymar N.T. Recognition and understanding: the problem of mimesis and the structure of the image in the artistic culture of the XX century. // Vestnik Samar. GU. 1997. No. 3 (5). S. 30 et seq.

2 Adorno Th. Asthetische Theory. F/M. 1995. S. 36-56; Bttrger P. Prosa der Moderne. Unter Mitarbeit von Christa Burger. F/M. 1992; Burger P. Theorie der Avantgarde. F/M. 1974. S. 49-75; 76-116. structures and potential narrative possibilities. Therefore, in relation to literature of the classical type, it is legitimate to speak in terms of tradition and innovation.

In the 20th century, when the artist becomes an outsider, feels his alienation from language and culture, the work comes into conflict and lives in the event of this conflict with the language of culture. It is not complete in itself, not self-sufficient, because it does not have a language that would be its own. The life of such a work lies in its openness, intellectuality, appeal to other languages ​​and myths, in the event of an “attack”1 on existing forms of culture, on the consciousness of the reader. The works of J. Joyce, T.S. Eliot, W. Eco are filled with the energy of a kind of intellectual aggression, assuming a detailed commentary even on the atomic elements of the text as a resistor.

The works of V. Wolfe, which do not contain such a commentary, nevertheless experience an urgent need for it, because the language itself reveals immanent, potential possibilities of semantic dissipation (scattering of meanings), becoming flexible, plastic and polyvalent, on the one hand, and on the other hand, it concludes in itself a tendency to resist, conceal and withhold meaning. Thus, the problem of the strategy of reading and understanding the text, which is relevant only for the 20th century, arises, because the subject of artistic research is not the surrounding reality, but artifacts of the language and culture as a whole. The terms tradition and innovation reveal their insufficiency, since they fit the work into either an extended or too narrow context. For example, the works of F. Kafka fit into the paradigm of Ch.

1 Rymar N.T. Cit. slave. P. 32. Dernism is associated with the work of J. Joyce, A. Gide, V. Wolf, T. S. Eliot, S. Dali, A. Bely, V. Nabokov, D. Kharms, T. Mann, B. Brecht, Yu. O "Neela and others. Studies in the field of the intertextual nature of the work, popular in the second half of the 20th century, also reveal their insufficiency: the text may be closed for understanding and deciphering due to the resistance of the linguistic material (even within the native language!).

These circumstances largely predetermine our interest in the specifics of W. Wolfe's artistic thinking in general and in the study of the structure of narration in particular.

Theoretical basis present work compiled the works of M.M. Bakhtin, N.G. Pospelov, Yu.M. Lotman, V.V. Kozhinov and modern researchers - A.Z. list of used literature). The works of S.N. Filyushkina1, N.G. Vladimirova2, N.Ya.Dyakonova3, N.I.

The relevance of the study is due, on the one hand, a high degree study of V. Wolf's work, and on the other hand, the lack of a conceptual approach in the analysis of the structure of the narrative. Within the framework of the problem posed, it is relevant to consider

1 Filyushkina S.N. Modern English novel. Voronezh, 1988.

Vladimirova N.G. Forms of artistic convention in the literature of Great Britain of the 20th century. Novgorod, 1998.

3 Dyakonova N.Ya. Shakespeare and English Literature of the 20th Century // Questions of Literature. 1986. No. 10.

4 Bushmanova N.I. The Problem of Intertext in the Literature of English Modernism: Prose by D.H. Lawrence and W. Woolf. Abstract dis. Dr. Philol. Sciences. M., 1996.

13 of the communicative space in W. Wolfe's novel "Mrs. Dalloway", as well as the system of rhetorical devices that organize this text.

The subject of the study is the structure of the narrative in the novel by W. Wolfe "Mrs. Dalloway", which is considered by researchers as a programmatic, milestone work of the writer, marking the transition from the traditional manner of writing ("Journey", "Night and Day") to a qualitatively new artistic system (" To the lighthouse”, “Waves”, “Years”, “Between acts”). The paper considers three levels: macro- (novel whole), midi- (analysis of individual plot situations that construct real communicative space and communicative memory space) and micro-level (analysis of individual linguistic phenomena that contain the memory of culture, language and author's intention).

The purpose of the study is to identify the main structure-forming and text-generating elements, in the definitions of the main narrative strategy of V. Wolfe and the methods of its expression.

The purpose of the study involves the solution of the following tasks: identifying the constitutive features of the novel type of artistic consciousness, influencing the formation of a narrative strategy; revealing the ways of forming the structure of the narrative of classical and non-classical types of artistry; consideration of the mechanisms of constructing a real communicative space and memory space in the artistic world of the novel by V. Wolf; determination of the specifics of the subject-object organization of the narrative in the novel.

Research methods. The system-structural and structural-semantic methods in combination with elements of the synergetic approach are used as the main ones in the work. When studying the microstructure of the text, the method of linguistic observation and description with elements of cognitive-pragmatic analysis is used.

Scientific novelty lies in the study of the narrative structure of the novel "Mrs. Dalloway" by W. Wolfe using a complex, multi-level* translation of the original text; in the study of the structure of the communicative space and the system of rhetorical devices.

The scientific and practical significance of the work lies in expanding the understanding of the structure of the narrative, in analyzing the mechanisms for the formation of a communicative space, and also in the fact that its results can be used in a variety of ways in the process of developing general and special training courses on foreign literature of the 20th century in university teaching practice, in the management of research work of students, including writing term papers and theses. The materials and some provisions of the work can be used in further studies of the narrative structure of works of non-classical type of artistry.**

Approbation of work. According to the results of the study, reports were read at scientific and practical seminars of the Department of Foreign Literature of the Kaliningrad State University in 1996, 1997. On the topic of the dissertation, reports were read at international conferences of faculty, researchers, graduate students and students in Kaliningrad in April 1998, 1999, at the international conference "Actual problems of literature: a commentary on the XX century

CONCLUSION

As a result of the study, we came to the following conclusions.

1. The artistic consciousness of the classical type is characterized by genre thinking, which implies the continuity of genre knowledge acquired from generation to generation and the possibility of fixing them by means of language. The author and the reader are in a single semantic space: the choice of genre is the prerogative of the writer, while the reader agrees with the proposed model of the world image, and the work, in turn, is read through the prism of a clearly defined genre. The author of a classical narrative performs a function that organizes the novel as a whole: he establishes causal relationships, determines the composition of plot-compositional and extra-plot artistic means and techniques, sets the internal and external boundaries of the narrative.

The artistic consciousness of the 20th century is characterized by the destruction of genre thinking. The writer and the reader find themselves in different semantic spaces. The problem of “choosing a genre” and the strategy of interpreting a work passes to the plane of the reader. The very form of the work becomes not only the subject of creative reflection, but reveals its instability, fragility, formlessness.

2. The artistic consciousness of W. Wulf, on the one hand, gravitates towards completeness, but at the same time experiences the opposite tendency - the rejection of it. Blurred are the internal and external boundaries of the narrative. The beginning of the novel simulates the situation of an interrupted dialogue, thereby affirming the idea of ​​the fundamental anarchy of the work. On the other hand, the end of the novel testifies to the potential impossibility of its end, because the work opens into infinity.

The existence of the whole is predetermined by the operation of the law of stability, however, movement, development, the emergence of a new one is possible only in an unstable system. Such an unstable system in W. Wolfe's novel is a fragment, and the work as a whole is a collection of 12 fragments, the boundaries of which are determined by gaps. The openness and incompleteness of one fragment becomes the driving force for the generation of another.

The stability of the whole is achieved through the reconstruction of the logic of linking fragments. It is based on: the movement of artistic thought from the effect to the cause; remote and narratively proximate cause; transition of the narration into the zone of consciousness of another character; receiving accurate or inaccurate specular reflection; the image of a really observed person or its transformation by creative consciousness; the emotional reaction of the character at the moment of the present to the situation that occurred in the past; fixing a certain point in time; compositional gap (narrative gap, or 0 logic).

The stability of the whole is maintained thanks to the subject-object organization of the narrative. V. Wolfe transfers the narrative initiative to various subjects, whose points of view at certain moments of the narration become leading: a subjectless observer; subjective observers (both main and background); composing subject; narrator.

Thanks to the method of switching narrative points of view, on the one hand, the internal movement of the text is ensured, and on the other hand, conditions are created for modeling the communicative space.

3. The real communicative space is organized using the following techniques: switching narrative registers; panning; creating a systematically changing picture.

However, the real communicative space modeled by V. Wolfe, refracted through the prism of perception of various characters, becomes random, illusory, and therefore surreal in the reader's perception, because genuine communication in the artistic world of W. Wolfe is possible and realistically feasible only within the internal communicative space, the semantic and semiotic field of which can be read exclusively by its owner, represented by a subjectless observer, and reconstructed by the reader. Thus, a genuine act of communication in the artistic world of V. Wolfe is possible and really feasible only in the space of consciousness. Only here is it possible to achieve absolute mutual understanding, and only here opens the absolute abyss of existential loneliness. And the instrument by which consciousness exists is memory.

The first impetus, as a result of which the theater of memory unfolds on the pages of the novel, is the “depths of feelings”. Reality itself becomes a "form of memory" for W. Wolfe. There is a principle of inseparable trinity of reality - imagination - memory.

The temporal image that V. Wolf opens, flickers on the verge between "no longer" and "not yet." This is a continuing space of continuous changes, a possible characteristic of which may be its incompleteness, and the consequence is the process of identifying the image of the Self and the image of the world. Memory becomes an intermediary tool in this process. Due to the factor of psychological inclusion of consciousness at a certain moment of the past, it becomes an experienced present. At the intersection point, a space of increased tension, intensive work of thought is formed, in which a dialogue or polylogue is possible and even necessary - this is how the communicative space of memory is established.

The following vectors are distinguished in the movement of the text by V. Wolfe: the individual memory of the character/characters; collective (national-historical) memory; existential (mythological) memory; memory of language and culture; memory of the author's intention.

Along with the traditional process of remembering, the novel presents the mechanism of recall.

Their interaction models the space of individual memory of the central characters - Clarissa Dalloway and Peter Walsh. In relation to other characters (both the main ones - Septimus Warren-Smith and Lucretia - and the background ones), V. Wolfe uses a rather traditional method of imitation of individual memory. In such cases, interspersing plot situations of the past contribute to the creation of a narrative form of representation of characters.

4. The artistic text of W. Wolfe in its microstructure implicitly or explicitly contains the memory of language, culture and the author's intention. The explication of these layers becomes possible thanks to the study of such linguo-stylistic phenomena as parcellation and paranthesis.

The analysis of the semantic and functional field of parcelling made it possible to reconstruct some of the mechanisms for the formation of the communicative space of the novel, such as: filling the dieremic space in the direction of activating the sensory, mental and creative experience of the reader; formation of a strategy for retrograde (retrospective-recursive) reading; overcoming the semantic and hermeneutic lacuna as a consequence of the impact of the principle of semantic dissipation (scattering); impact of the author's corrective intention; exposure of the process of birth and extinction of the idea (both at the level of the conceptual model of the genre, and at the level of a separate component of the narrative structure); revealing the mechanism of approbation of the conceptual model of the genre of love, adventure, family novel as a result of using the technique of the unwritten novel.

The analysis of the semantic and functional field of the paranthesis made it possible to expand the boundaries of the communicative space of the novel at the level of memory of the artistic form and the author's intention. Thus, paranthesis contributes to the aggravation of the process of dialogization and dramatization of the narrative structure; makes a commentary on the interests, habits, tastes, views, history of the characters; explicates the presence of the auto-editing principle; concludes a commentary intention to the process of remembering the subject leading the narration; makes a comment-assessment, a comment-correction of the emotional experience of a situation that occurred in the past, from the standpoint of perception and mood at the moment of the present; contains a commentary on the assumption put forward by the composing person (or commentary - example - assumption); contains a comment (in the modality of suggestion) regarding the "content" of a character's gesture or gaze; makes it possible to discover the author's intention, aimed at finding a form adequate to the idea, and its acquisition through the contamination of dramatic and narrative techniques proper (at the same time, the path found is inevitably accompanied by the destruction of both the first and second systems); composes a remark-remark (from a concise, marking the place of action, a gesture or movement of a character, to a widespread one, including a whole period or paragraph and marking a situation or mise-en-scene from the external position of a subjectless observer); the information contained in such constructions is partly a decorative background or background of the corresponding mise-en-scène and/or action; signals a change in the subject and / or object of the narration.

5. At the same time, the author of this work has to admit that the study undertaken does not exhaust the whole variety of narrative possibilities of the analyzed text, but rather outlines prospects for further study of the structure of the narrative (for example, in the later works of W. Wolfe, both large and small forms ).

A possible continuation of the work can be a comparative analysis of the narrative structure of such works as "Mrs. Dalloway" by W. Wolfe and "Swan Song" by J. Galsworthy, as well as "Death of a Hero" by R. Aldington.

An equally interesting continuation could be a comparative analysis of the artistic thinking of W. Wolfe and such masters of the small psychological genre as G. Green, G. Bates, W. Trevor, S. Hill, D. Lessing and others.

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