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The stylistic techniques in postmodern literature

Sotib olish

MINISTRY OF HIGHER EDUCATION, SCIENCE AND INNOVATIONS OF
THE REPUBLIC OF UZBEKISTAN
SAMARKAND STATE INSTITUTE OF FOREIGN LANGUAGES FACULTY
OF ENGLISH PHILOLOGY AND TRANSLATION STUDIES
DEPARTMENT OF ENGLISH PHILOLOGY
TO’YCHIYEVA GULRUH MUZROB QIZI
THEME: THE STYLISTIC TECHNIQUES IN POSTMODERN LITERATURE
COURSE WORK
Special i ty: 5120100 -Philology and teaching languages (English language)
Samarkand
1

CONTENT
INTRODUCTION …………………………………………………….……...…..3
CHAPTER I. POSTMODERNISM AND LITERATURE
1.1. The general information about postmodernism and
literature………………....7
1.2. The semiotics of literary postmodernism…………………...……………. ….12
Conclusion on chapter I ……………………………………..……………….…17
CHAPTER II. POSTMODERNISM: CONCEPTS AND TECHNIQUES
2.1. Literary devices in postmodern literature …………… ………..…………….18
2.2. The usage of stylistic techniques in postmodern
literature…………………...23
Conclusion on chapter II ………………..……………………………….……...30
CONCLUSION ……………………………..…………………………………...31
REFERENCE ……………………………...………….………………………..33
INTERNET RECOURCES …………………………………………………….35
2

INTRODUCTION
Delivery of each subject to students using new innovative pedagogical
technologies is one of the main requirements of today's education. The President
of the Republic of Uzbekistan Shavkat Mirziyoyev on May 19, 2021 “A
measure to bring the popularization of learning foreign languages in the
Republic of Uzbekistan to a qualitatively new level” In accordance with the
State Program “Year of Youth Support and Public Health Strengthening”, the
development of foreign language teaching as a priority of education policy, in
this direction to fundamentally improve the quality of education, to attract
qualified pedagogues to the field, and to improve the quality of the population
special importance is attached to increasing their interest in learning foreign
languages. A new stage, a new era has begun in the teaching of foreign
languages in our country [1, 115]. The use of advanced pedagogical
technologies, interactive, innovative methods, communicative and informational
tools is required in the process of teaching foreign language classes. Mirziyoyev
noted, “…in the field of education and morals, the “practical example” will have
decisive importance. First of all, we must set a practical example for our
children in all spheres in being loyal to the country, the people, in loving
science, in the profession, in fulfilling our duty to parents and society
wholeheartedly” [1, 331].
In our republic, new methods and requirements have been developed in
accordance with the European framework recommendations (CEFR) and
International English Language Testing System (IELTS) for foreign language
teaching and assessment of knowledge and skills of foreign language teachers.
According to it, textbooks were created for students of general education schools
and vocational schools. In accordance with these requirements, classrooms were
equipped with new information and communication techniques. Foreign
language science is divided into four aspects (reading, writing, listening and
3

speaking), and separate concepts and skills are given for each of them.
In thе frаmе оf rеаlizаtiоn оf thе Lаw оf thе Rеpublic оf Uzbеkistаn “Аbоut
thе Еducаtiоn systеm” thеrе crеаtеd thе cоmplеx systеm оf tеаching fоrеign
lаnguаgеs, dirеctеd tо thе fоrmаtiоn оf hаrmоniоusly dеvеlоpеd, highly еducаtеd,
thinking in mоdеrn wаy, grоwing gеnеrаtiоn аnd furthеr intеgrаtiоn оf thе rеpublic
intо wоrld cооpеrаtiоn.
Cоnsidеring thеsе mоst impоrtаnt principlеs аnd thе еxpеriеncеs оf
dеvеlоpеd cоuntriеs оf thе wоrld, thе Rеpublic оf Uzbеkistаn hаs rеcоgnizеd its
mаin dirеctiоn оf еducаtiоnаl dеvеlоpmеnt. Thеy аrе аs fоllоws:
1.Mоdificаtiоn аnd furthеr pеrfеctiоn оf thе еducаtiоn аnd sоciаlizаtiоn
cоntеnt
2.Dеvеlоpmеnt оf nеw schооl, curriculum аnd tеxtbооks
3.Strеss оn individuаl аbility аnd tаlеnt
4.Vоcаtiоnаl аnd Prоfеssiоnаl dеvеlоpmеnt in аccоrdаncе with chаngе
еcоnоmicаl nееds.Intеgrаting Uzbеkistаn with wоrld еducаtiоnаl stаndаrds
The object of this course work is to break away from conventional
traditions through experimentation with literary devices, forms, and stylistic
techniques. And focuses on the ways in which a text is shaped and influenced by
the cultural, historical, and social context in which it was produced, and the ways
in which it in turn shapes and influences that context.
The subject of the study is to apply linguistic theories and methods to
analyze literary texts, examining how language shapes meaning and interpretation
in postmodern literature.
The purpose of this study: in the context of postmodern literature can vary
depending on the specific requirements set by the instructor or educational
institution. However, in general, the purpose of a coursework assignment in
postmodern literature is to deepen understanding: coursework assignments provide
with the opportunity to delve deeper into the themes, styles, and techniques of
postmodern literature, critical analysis: coursework assignments often require
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students to critically analyze and interpret postmodern texts. This involves
examining the ways in which authors challenge traditional narrative conventions,
explore philosophical ideas, and engage with cultural and historical contexts.
The theoretical significance of this work is in postmodern literature lies in
its contribution to the ongoing scholarly conversation about the nature of literature,
language, and representation in the postmodern era. By engaging with postmodern
texts and theories, students can explore and interrogate key concepts and debates
that have shaped literary studies in the late 20th and early 21st centuries.
The practical importance of this work in postmodern literature extends
beyond academic study and can have real-world applications and benefits. Some of
the practical importance of this work includes: critical thinking skills: Engaging
with postmodern literature in coursework assignments helps students develop
critical thinking skills by analyzing complex texts, identifying underlying themes
and motifs, and evaluating different interpretations and perspectives. These skills
are transferable to various professional contexts, such as problem-solving,
decision-making, and analytical reasoning.
The structure of the work. The course work consists of introduction, 2
chapters with their own conclusions, overall conclusion of the work and the list of
used literature as well as internet resources.
Chapter 1 illustrates the general information about postmodern literature,
emergence of a temporal postmodernism and enhanced prominence and prestige of
narrative literary phenomena and the notions of postmodernism, literature,
strategy, device, sign, politics, and aesthetics such reductions, which play an
indispensable role in all processes of postmodernism.
Chapter 2 is to express the relevance and importance of studying literary and
postmodern stylistic techniques in literature. In the qualitative analysis of
postmodern literary works, several important findings were discovered that
illustrate the main characteristics of this literature.
5

In the concluding part of the work, the results and understandings obtained
as a result of the topic research are summarized. At the end of the work, the
scientific literature and internet resources related to the theme of the course work is
given.
6

CHAPTER I. POSTMODERNISM AND LITERATURE
1.1. The general information about postmodernism and literature
Postmodernism was not the invention of literary critics, but literature can
cer- tainly claim to be one of the most important laboratories of postmodernism.
Perhaps because of the sheer weight of numbers in literary studies during the
1970s and 1980s, as compared with the numbers of scholars writing or students
reading in architecture, film studies, or the embryonic disciplines of women's
studies or cultural studies, ideas of postmodernism tended in these formative
decades to be framed by reference to literary examples.
Literary postmodernism has tended to be focused on one kind of writ- ing, namely,
narrative fiction. The most influential books on literary post- modernism, such as
Linda Hutcheon's A Poetics of Postmodernism and Brian McHale's Postmodernist
Fiction, are devoted to postmodern fiction. It seems oddly fitting that what Hutcheon
calls the "poetics of postmodernism" should turn out to be most in evidence in its
fiction. One might almost say that the move from modernism to postmodernism
involves a move from poetry to fiction. Whether in the puckered vortex of the imagist
poem or in the dynamic anthologies of allusions, meanings, and voices characteristic
of long poems like Eliot's The Waste Land, Pound's Cantos, David Jones's In
Parenthesis and William Carlos Williams's Paterson, the effort of the modernist poem
was to condense the complexity of time and history, to make them apprehensible in a
single frame. When Joseph Frank announced influentially that modern literature was
characterized by its striving to achieve a "spatial form," which allowed and required
the work to be seen all at once in a single cohering perspective, he was helping to
form the acceptance that the representative modernist work ought to be some kind of
poem, even if it at actually looked to all intents and purposes like a novel, or a play
[6, 67]. Poetry meant the scaling of time into space, of succession to simultaneity.
The closely focused, highly technical form of literary analysis characteristic of the
New Criticism, determined to find wherever it could structures held in taut, ironic
7

tension, seemed to have arisen in order to respond specifically to modernist poetry. In
the 1950s and 1960s, the practice of close reading and practical criticism spread these
New Critical understandings of the nature and the value of literary analysis. The point
of a literary training was not only to render one able to construe poems with great
facility, but also to dis- cover poems to construe complex, dynamic, but internally
balanced and self-sufficient verbal structures - wherever one looked, and to turn
whatever one looked at analytically into a kind of poem.
One can name as "postmodernist" the dissatisfaction with this atemporal temper,
along with the disposition to attend to that which registers the passage of and
exposure to time rather than its gathering up. Where modernist literature worked on
time, literary postmodernism would work in time. If modernism means the
assumption that literature approaches to the condi- tion of poetry, postmodernism
means the tendency to assume that literature is intrinsically narrative. Indeed, the
study of literary modernism itself seems subsequently to have been affected by this
shift, as a version of modernism that had previously been focused on its
representative poets Yeats, Eliot, Pound, and Stevens-has been retrofitted by the taste
of scholars and students alike to shift the focus markedly to its novelists: James,
Conrad, Lawrence, Richardson, Joyce, and Woolf [4, 41-42].
Modernism had also been characterized by efforts to establish the dignity
and seriousness of the novel by developing for it a kind of poetics, centered on
principles of structure. This poetics operated according to the principles of a
scenography. That the question of perspective, of who "sees" and how, should bulk
so large both for modernist writers of fiction and for theorists of it, such as Henry
James and, following him, Percy Lubbock and Wayne C. Booth, is an indication of
the strong cooperation between the emerging "poetics" of the novel and a visual
conception of its form. The purpose of writing is to make its reader "see," said
Conrad, in his preface to The Nigger of the "Narcissus", the effect of this being to
suggest the naturalness and desirability of seeing novels and stories as pictures
and, what is more, as portraits (of a lady, of the artist as a young man) and
8

snapshots rather than as moving pictures. To be sure, many modernist novels are
also much concerned with the multiplication of voices and perspectives and the
concomitant difficulty of orchestrating those voices and perspectives. But one of
the ways in which this orchestration takes place is by displacing questions of voice
into questions of point of view. Rendering the question "Who speaks?" in the form
of the question "Who sees?" makes it a question of a position rather than of an
event. What is an orchestra, after all, but a spatial diagram of the means of music-
making, a visible reservoir of the musical possibilities that can be unfolded in
time?
Some postmodernist narratives appear, by contrast, to depend on the voice
rather than on the eye, or, more precisely, to make the voice hard to encode either
as a way of seeing or as itself something seen. We hear rather than see the narrators
in Beckett's trilogy of novels, and the last of the sequence, The Unnamable (1958),
gives us an unaccommodated voice, panting, ranting, and wrangling on, in a space
and time that it seems to be making up as it goes along, so that whatever we seem
to see of the scenes it evokes is an emanation of this voice and liable at any
moment to revocation. Salman Rushdie's Midnight's Children (1981) is a written
testimony that is similarly scored by the garrulous ragtime of the voice.
The emergence of a temporal postmodernism required more than the
enhanced prominence and prestige of narrative, however; it required also a
different attitude towards or theory of narrative. In fact, there was a considerable
time-lag between the growth in the privilege accorded to narrative over poetry and
the development of a nonpoetic understanding of narrative. During the 1960s and
1970s, the rise of structuralism generated the new science of "narratology," which
set itself to the job of sifting and sorting the recurrent elements of which narratives
were formed. The principal techniques of narratology were derived from the
analysis of folk tales and myths with large numbers of variants, in which the
purpose was to reduce the apparently arbitrary play of variation to a number of
recurrent structures or patterns. There was always something a little contradictory
9

about mapping the open and unfolding processes of narrative on to static or
circulating structures. Structuralist analysis of narrative was a little like trying to
account for a game of solitaire by demonstrating that the pack was organized into
four suits of thirteen different values. Such an explanation accounts for the game
only in the sense of showing the elements of which it is made up. It does not
explain what is intrinsic to the game, which is to say the particular path taken from
an unsorted to a sorted condition and the patterns formed in the process of playing
it out: the slow building of possibilities, the retardings, and rushes towards the
goal. What escapes this analysis is precisely the playing of the game, which is to
say, the game itself. These strains came to the surface in certain examples of
poststructuralist analysis of narrative. One example would be Roland Barthes's
book, a reading of Balzac's story Sarrasine, which attempted to apply the categorial
and permutative techniques of structural analysis in such a way as to leave the act
of reading open and infinite. Even a narratologist such as Gérard Genette, whose
work consists for the most part of careful discrimination and ordering of the
constituents of narrative, is nevertheless drawn to moments or examples where
narrative appears to exceed or perturb categories.
It was not until the mid 1990s that these internal strains within the un-
derstanding and analysis of narrative produced the first significant secession in the
name of postmodernism. Andrew Gibson's Towards a Postmodern Theory of
Narrative draws on the work of Lyotard, Deleuze, and Derrida to argue for an
analysis attuned to the mobile force of narrative rather than to its arrested or
abstracted form. Of course there are different forms of narrative the epistolary
novel, Bildungsroman, romance, western - but it is not identical with them. The
"narrative" part of narrative seems always to be pushing at or beyond those
containing frames. For Gibson, the force of narrative is that in it that overflows
limits. An analysis that is attuned to this movement allows the thought of
becoming to flourish alongside the desire for being. This involves more than just
changing the axis of analysis, so that, instead of attending to what is simultaneous
10

in narrative, one would attend instead to what is successive[2, 6-7]. For linearity is
itself a way of making time cohere, being the syntax of time's passage rather than
the passage itself. Instead, Gibson is drawn to narrative forms and forces that
disrupt this linearity, proceeding by darts and flashes and syncopations, yielding a
conception of time as irregular and random. This has sometimes created difficulties
for those for whom the only movement of time is a line and for whom the
nonlinear is always processed as circular, or static.
To say that literary postmodernism has been focused on narrative is obvi-
ously not to say that all narrative is henceforth by that simple and sufficient token
postmodernist, or postmodernist in the same way. As in the other arts one can
usefully distinguish what may be called a reactive from an intensive
postmodernism. The hegemony of narrative in the cultures of the North, in
evidence in advertising and computer games as well as in the vast and un- abashed
craving for story evidenced by the fiction bestseller lists and in the film industry
that feeds and magnifies them, represents a general intoler- ance of other modes of
the literary, and a numbed or nauseated aversion to the powers previously
possessed by poetry, the sermon, the letter, the essay, the meditation, and other,
less story-shaped literary modes[5, 120]. This is part of a reaction against the
allergy to narrative characteristic of modernism, and thus is in a general sense a
symptom of the waning of modernism's authority. But the increased interest in the
powers of narrative by postmodern critics such as Jameson, Hutcheon, and McHale
represents an attempt not simply to thaw out the absolutisms of modernism, but to
push modernism further, in order that it renew itself in its very self-contradictions.
1.2. The semiotics of literary postmodernism
Whatever the philosophical justification or political motivation of
postmodernism, it cannot be denied that postmodernist writers have shown a
preference for certain strategies and devices which have been singled out by critics
11

as characteristic of postmodernism and have been enjoyed as such by an increasing
number of readers.
Perhaps this statement can indeed not be denied in a straightforward manner,
but almost every word of it can be questioned. From a poststructuralist point of
view one may ask whether it is still appropriate to use the term "justification," even
in a subordinate clause that aims to discard the problem, or "motivation," as if all
action is motivated. There is also the denial of the possibility to distinguish
between postmodernism and earlier literary currents involving a denial of the
possibility to single out literature as a separate field of inquiry, as well as of our
ability to distinguish between clusters of literary strategies and devices. Serious
questions have been raised about the very notion of strategy, as well as about the
possibility of considering formal devices as carriers of meaning. Moreover, the
statement suggests a relation between authorial intention and critical reading,
which seems rather optimistic in a world of misunderstandings and misreadings.
Indeed, misreadings - rather than "correct" readings - have been called creative. In
a critique of Umberto Eco, Jonathan Culler has argued in defense of
overinterpretation, since extreme interpretations "have a better chance of bringing
to light connections or implications not previ- ously noticed or reflected on than if
they strive to remain 'sound' or 'moderate".
And what does it mean if something is considered characteristic of
something else? Isn't this plain reductionism, an attempt to overlook differences,
whereas meaning results precisely from difference and should therefore never
become fixed? Finally, the idea that readers enjoy the reading of texts that are
considered postmodernist can be deconstructed as an attempt to ignore the fact that
"every representation always has its politics". The aesthetic experience distracts
from other responsibilities, and the tendency to consider reading postmodernist
texts as something to be enjoyed is, from such a political perspective, again an
unwarranted reduction. These questions and critical observations prevent us from
immediately jumping to an enumeration of postmodernist strategies and devices,
12

which can be found only at the end of this chapter. A considerable preliminary
discussion must precede our actual exposition of pragmatic, semantic and syntactic
conventions in postmodernist writing and reading. If I do believe that the opening
statement of this essay can be maintained it is because most of the objections just
mentioned have been raised from a level of abstraction that is not pertinent to my
argument. From a philosophical point of view any concept and certainly any label
can indeed be deconstructed, as Nietzsche already knew and practiced. However,
on the basis of psychological research we know that in communicative practice
people use abstract notions which are reductions, schemas, and models [10, 200]. It
is possible to study these notions as they are actually used. I consider the notions of
postmodernism, literature, strategy, device, sign, politics, and aesthetics such
reductions, which play an indispensable role in all processes of communication,
including communication through or concerning texts, whether considered literary
or not.
There are two questions which cannot be dismissed that easily. First, there is
the question of whether the interpretation of texts can be and should be related to
features or properties of those texts. In other words, do texts serve as Rorschach
tests and are readers completely free to interpret them in whatever way, or are they
made up of signs with conventional meanings which readers that are familiar with
these conventions will be inclined to decode in certain ways and not in others?
Only in the latter case will it be possible to claim that particular clusters of these
signs may induce readers with some knowledge of postmodernism to recognize
them as postmodernist. It is not only counterintuitive that intelligent human beings
would try to communicate by means of texts whose composition is completely
arbitrary, it also in practice appears that particular texts are interpreted rather in
one way or in a restricted number of ways than in other ways. We can discuss the
contents of a newspaper article with other readers of that article, and we usually do
so without serious difficulties over our interpretations of the text in question.
Likewise, we will interpret Proust's A la Recherche du temps perdu in a restricted
13

number of ways: for instance, as a modernist or as a symbolist novel or even as a
postmodern text (Gray 1992), but not as an example of expressionist drama. As a
caveat I should add that the interpretations of texts which are more complicated,
more metaphorical, more fictional tend to diverge more than the interpretations of
simple messages. I maintain, however, that it is possible to examine textual devices
which are characteristic of postmodernist literature; these devices are either
incorporated intentionally in the text by the author, or recognized as being
postmodernist by readers, or both. The authorial intention and the readers'
acceptance referred to here are part of pragmatic conventions. In studying literary
communication we cannot separate the texts from the individuals who produce and
consume them. In practice, it appears that formal devices and thematic selections
are always enclosed by and subordinate to pragmatic conventions which steer the
production and interpretation of meaning. Often there is a homologous relation
between the textual features and these pragmatic conventions, which in the act of
communication may become strategies to reach a certain goal, but such a
homology is no necessity and will be absent, for instance, in the case of parody or
irony. In imitation of Fredric Jameson Remo Ceserani, however, states that "we
cannot rely on style differences in order to make cultural and historical differences,
especially when we deal with a period-change of the magnitude of one that has
taken place in our world since the 50s and 60s" I, too, would not argue that stylistic
features can serve as indexes of cultural change on a global scale and do emphasize
the pertinence of pragmatic conventions, but I also have a different and more
modest aim in mind: I simply wish to answer the question whether writers who
have been characterized as postmodernists have favored particular techniques and
devices and particular identifiable pragmatic strategies. This is the difference
between modernism and postmodernism in literature and literary communication,
not postmodernity in the sense of a globaliza- tion of economics and politics,
postmodern modes of production and consumption, or, if one prefers a more
idealist phrasing, a postmodern Zeitgeist [12, 135-136].
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Susan Suleiman writes "that the effort to define postmodernism chiefly as a
formal (or even as a formal and thematic) category and to place it as such in
opposition to modernism is, even when successful, of limited interest". However,
she ignores the possibility of examining pragmatic conventions in addition to
formal features and thus overlooks an essential aspect of semiotic analysis. Like
Ceserani, she appears to be enthralled by questions of considerable magnitude such
as: "Where is postmodernist practice going? Can it be political? should it be?" etc.
Her interest is mainly political and feminist, leading to the common sense
conclusion that she would "rather be an ironist than a terrorist" [9, 142].
An interest in progressive politics or "in the material structure of society, in
its economic organization, in its modes of production", provides no excuse for
ignoring the semiotics of literary communication, notably if that is what our
expertise is about. After all, both Suleiman and Ceserani are interested in what the
effects of postmodernist writing are or can be. Thus, they should be interested as
well in the factors that may produce postmodernist texts and make readers
recognize these texts as postmodernist. If they want to discuss the significance of
postmodernist literature, they themselves, too, should be able to first recognize
what they wish to talk about.
The other question concerns the kind of phenomena we will investigate. In
short: if we wish to distinguish between modernism and postmodernism, at what
level would it be possible to find the distinctive features we are looking for? And,
if the labels modernism and postmodernism refer to successive or competing
literary sociolects or codes, how can we explain the succession of or competition
between these codes? In using the term "code" I deviate from the definition
proposed by George A. Miller, which includes the necessity of a "prior agreement
between the source and destination" about the representation of meaning. This
condition can apply only to artificial codes, not to the codes of language or
literature which have their roots in a long history of social communication. In
language and literature, codes are systems of conventions which regulate the
15

generation and attribution of meaning. Instead of a prior agreement, there may be a
posterior agreement between sender and receiver or, if there is no communication
with the sender, among groups of recipients about the meaning conveyed by a
particular text or message. Whatever the case, the attribution of meaning remains
based on a social convention, on knowledge shared by a group of people.
Yurij Lotman distinguished between a linguistic and a literary code, but, as I
argued on an earlier occasion, a further distinction can be made between, on the
one hand, general conventions distinguishing literary from nonliterary
communication and, on the other, clusters of more specific conventions which
regulate the differentiation between genres (e.g., fiction versus poetry), literary
currents, sociolects, or group codes (e.g., modernism versus postmodernism),
cultural characteristics (e.g., British versus American literature), gender styles, and
the idiolects of individual authors. The distinctive features we are looking for can
be found at the level of the literary sociolects. The authorial intention and the
readers' acceptance referred to here are part of pragmatic conventions.
16

Conclusion on chapter I
Overall, postmodern literature is characterized by its self-reflexivity,
playfulness, and skepticism toward grand narratives and absolute truths. By
embracing ambiguity, complexity, and multiplicity, postmodern authors invite
readers to engage with the uncertainties and contradictions of contemporary culture
and to question their own assumptions about language, reality, and representation.
In the context of postmodern literature, stylistic techniques refer to the
specific artistic choices and literary devices that authors use to convey their ideas
and create meaning within their works. These techniques are often characterized by
their experimental nature, challenging traditional storytelling conventions and
pushing the boundaries of narrative structure, language, and form. Postmodern
writers employ a variety of stylistic techniques. These techniques allow authors to
explore new ways of storytelling and invite readers to actively participate in the
construction of meaning within the text. Since literary terms, such as realism,
modernism, and postmodernism, can be used to indicate group codes manifesting
themselves at a particular historical juncture as well as a-historical typological
features, it would be imprudent to argue that Eco and Lyotard are wrong. In this
essay, however, I have chosen to use the term "postmodernism" in the social-
historical sense, as a characterization of the writings of a group of contemporary
authors. I am not arguing that other ways of carving up literary history are
impossible, but my point of departure is the assumption that, for cognitive,
aesthetic, and identificational reasons, a new generation, which now is
17

conveniently called post- modernist, has rejected the conventions of modernism
and designed their own instead.

CHAPTER II. POSTMODERNISM: CONCEPTS AND TECHNIQUES
2.1. Literary devices in postmodern literature
Postmodern literature is characterized by fragmentation, intertextuality,
metafiction, as well as the use of irony and skepticism. These elements challenge
traditional narratives, disrupt linear storytelling, and invite readers to question
established norms and values. In this introduction, we will explore how these
features contribute to the significance of postmodern literature and its relevance in
the field of literary studies. The issue addressed by postmodern literature is the
dominant structure in society, which often imposes fixed and linear narratives on
individuals' understanding of the world. Postmodern writers strive to offer
alternative perspectives by depicting chaos and uncertainty in reality. Through
fragmentation, non-linear narratives, blending of genres, and the use of imagery
and metaphor, postmodern literature presents complex and often ambiguous
realities that reflect the state of an uncertain world. The notable literary devices of
postmodern literature are paradox, unreliable narrators, unrealistic narratives,
parody and dark humor. Most postmodern literature also rejects the idea of a single
theme or meaning, choosing instead to have many meanings or forgo theme
entirely. This rejection of theme and meaning is often because many of its authors
and artists fail to see a singular meaning in the broken, disastrous world around
them. Instead, it often enjoys poking fun at those who try to find meaning
themselves. The notable literary devices of postmodern literature are paradox,
unreliable narrators, unrealistic narratives, parody and dark humor. Most
18

postmodern literature also rejects the idea of a single theme or meaning, choosing
instead to have many meanings or forgo theme entirely. This rejection of theme
and meaning is often because many of its authors and artists fail to see a singular
meaning in the broken, disastrous world around them. Instead, it often enjoys
poking fun at those who try to find meaning themselves.
In addition to fragmentation, intertextuality plays a crucial role in
postmodern literature. By referencing and incorporating elements from previous
texts, writers create new meanings and depths in their own works. Intertextuality
allows for a dialogue between texts and different cultural traditions, expanding
readers' knowledge and understanding of various disciplines and perspectives. This
integrative and collaborative approach enhances creativity, analytical skills, and
critical thinking, enabling individuals to engage with complex issues and cultural
differences.
Metafiction, another important aspect of postmodern literature, refers to
techniques that self-reflect and draw attention to the artificial nature of storytelling.
By challenging traditional narrative structures and blurring the boundaries between
fiction and reality, metafiction invites readers to question the authority of the
author and the concept of a singular and objective truth. Explorations of form and
content related to historical events and figures, known as historiographic
metafiction, allow for critical examinations of history and its constructions.
Furthermore, irony and skepticism are used in postmodern literature as subversive
tools and critiques. Irony exposes the limitations of language and challenges
readers' assumptions, while skepticism questions established narratives and power
structures. Through these elements, postmodern literature encourages readers to
engage critically with the complexities of the postmodern world, promoting a
deeper understanding of social, cultural, and political issues. This research aims to
provide an understanding of the significance of postmodern literature and its
contributions to the field of literary studies [8,123-124]. By exploring the problem
statement, existing artistic conditions, and concepts offered by postmodern writers,
19

we will delve into the novelty and potential of this genre. Through comprehensive
analysis of relevant works, including recent review articles, we will demonstrate
the relevance and importance of studying postmodern literature. In the qualitative
analysis of postmodern literary works, several important findings were discovered
that illustrate the main characteristics of this literature. Firstly, fragmentation is a
key element that appears in many of the researched postmodern literary works.
Postmodern literature often uses irony, satire, and parody to critique
dominant ideologies, challenge conventional wisdom, and subvert traditional
literary forms. Authors may play with genre conventions and undermine reader
expectations to create a sense of disorientation and uncertainty.
Postmodern writers tend to break narratives into irregular pieces, presenting
a complex reality and ambiguity that reflects the uncertain state of the world.
Secondly, intertextuality is also a dominant feature in the researched postmodern
literary works. These writers use references and incorporate elements from
previous works to create new meanings in their own works. Intertextuality expands
readers' knowledge and understanding of various disciplines and cultural
perspectives, enriching creativity and critical thinking skills. Furthermore,
metafiction is an important element in the researched postmodern literary works.
Metafiction refers to selfreflective techniques that invite readers to question the
authenticity and authority of narratives and to pay attention to the fictional
elements within the story. In this study, it was found that metafiction is often used
to criticize traditional narrative structures and challenge the concept of objective
truth. Lastly, irony and skepticism are also integral parts of the researched
postmodern literary works. Irony is used to reveal the limitations of language and
provoke readers' assumptions, while skepticism questions established narratives
and power structures. Both of these elements encourage readers to engage critically
with the complexities of the postmodern world, deepening their understanding of
social, cultural, and political issues.
20

The remarkable resurgence of rhetoric in recent years and the current
application, to texts of all kinds, of literary theories which derive their
methodologies from many modern disciplines, both scientific and otherwise, mean
that modern readers are likely to meet, in creative as well as in critical texts, terms
specific to literature as a code demanding from its initiates a kind of specialized
competence most apparent at the terminological level. The reading contract offered
by many modern and postmodern texts no longer incorporates the old Romantic
assumption that reading provides 'direct' communion with the author, a process
affording privileged insight into the mind of a presiding genius. Many modern and
postmodern texts call attention to their artifices, having then no need to create
other artifices to conceal them. This fact, though it may imperil the illusion of
'reality' once held to be essential to critical pleasure, offers readers familiar with
the theory of such devices a different kind of critical enjoyment.
In reality, figures abound not only in literature but in everyday language, as
modern advertising demonstrates abundantly. 'Figures' accumulate through
admixture or superimposition even in the shortest textual segments. The ability to
recognize them from their definitions does not serve only literary analysis. In fact,
they constitute a system immanent in all of culture (metonymy and metaphor, for
instance, are essential to the semiology of objects); they occur in all problems of
human communication, whether the participants use public or private languages or
some other sign system; they pro- vide the link between the individual unconscious
mind, whose roots are physiological, sunk in the family and social environment,
with its impulses, intentions, and memories, and the sentence expressed as 'surface-
structure,' situated and concrete, a visible gesture leaving a trace. Figures should
not, therefore, be defined as being different from, or 'modifications' of, 'ordinary
language,' following the all too familiar criterion of stylistic deviation. Such a
theory may be useful in stylistics, under certain conditions, but the problem of
establishing a zero variant, one, that is, without its own specific value, will always
remain insoluble, because the rhetorical phenomenon will be present in the variant
21

itself, since the former is subjacent to language. According to Saussure, the
elements of style, like those of language, possess only differences, 'without a
positive term.' Figures only modify language accidentally. The basic ones, which
are not only those 'of thought or those 'of passion,' as classical authors believed,
exist at a level 'deeper' than the expressive one [4, 77].
It is likely that some future historians of ideas will characterize the
philosophical discourse in the twentieth Century as being divided into two"
schools": the" analytical" and the" Continental." If any such distinction is made, it
is equally likely that the distinguishing characteristics will be located in their
philosophical concerns as well as in their writing styles. Indeed, what is
immediately striking about the writings of Continental philosophers, particularly
French and German writers, is that the language used is laden with rhetorical
devices, particularly neologisms, metaphors, allusions, and chiasma. Some writers
go so far as to employ unusual formats. The language of Continental philosophy
has been the source of many criticisms, ranging from unnecessary distraction to
deliberate obfuscation. In this paper I argue that the" Continental style" is not
incidental to the philosphical concerns of Continental philosophy: it is rather a
means of expressing those concerns. I shall restrict myself to those philosophical
concerns that can be loosely described as" postmodernist," ie, the major concerns
expressed by the French post-structuralists and by some German" Critical
Theorists." What I wish to show is that the rhetorical devices encountered in the
writings of Continental philosophy are not purely rhetorical. Rather, they have a
decisive cognitive rôle to play in that they enable the reader to" see" more clearly
the point being made.
It is well known that Piato was steadfastly against the use of rhetorical
devices in philosophical discourse. For Piato, they may be employed by poets
whose job it is to entertain, but not by philosophers whose job it is to enlighten. As
a result, Plato's language in the dialogues is as plain as plain can be. The Platonic
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position has been defended by Locke and Hume in a language that is, ironically,
often wonderfully figurative [5, 45-46].
Various literary devices are employed in postmodern literature, including
fragmentation, intertextuality, metafiction, irony, and skepticism. This study aims
to explore how these devices challenge traditional narratives, reshape reality, and
critique established power structures. The research method involves a
comprehensive literature review to analyze the usage and implications of these
devices in postmodern literature. The findings indicate that fragmentation disrupts
linear narratives, intertextuality enriches texts through references and allusions,
metafiction emphasizes self-reflection, irony subverts conventional meanings, and
skepticism questions established ideologies. These devices contribute to a complex
and critical understanding of the postmodern world. In conclusion, this research
highlights the importance of these literary devices in postmodern literature as tools
to challenge norms, broaden perspectives, and encourage critical engagement with
narratives and social realities. Further research in this field can provide deeper
insights into the role of these devices in shaping contemporary literature and
society.
2.2. The usage of stylistic techniques in postmodern literature
Stylistic devices or techniques are interesting or creative ways of using
language that go beyond expected or straightforward usage. According to the
stylistic devices definition, stylistic devices add an additional dimension to
language beyond its literal meaning. Stylistic devices can also be called rhetorical
devices because they are often used in rhetoric, the discipline that covers effective
and persuasive language use. Stylistic devices can also be called figures of speech
because they often involve non-literal or figurative language.
Both modern and postmodern literature represent a break from 19th century
realism. In character development, both modern and postmodern literature explore
subjectivism, turning from external reality to examine inner states of
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consciousness,
in many cases drawing on modernist examples in the "stream of consciousness"
styles of Virginia Woolf and James Joyce, or explorative poems like The Waste
Land by T. S. Eliot. In addition, both modern and postmodern literature explore
fragmentariness in narrative- and character-construction. The Waste Land is often
cited as a means of distinguishing modern and postmodern literature. The poem is
fragmentary and employs pastiche like much postmodern literature, but the speaker
in The Waste Land says, "these fragments I have shored against my ruins".
Modernist literature sees fragmentation and extreme subjectivity as an existential
crisis, or Freudian internal conflict, a problem that must be solved, and the artist is
often cited as the one to solve it. Postmodernists, however, often demonstrate that
this chaos is insurmountable; the artist is impotent, and the only recourse against
"ruin" is to play within the chaos. Playfulness is present in many modernist works
(Joyce's Finnegans Wake or Virginia Woolf's Orlando, for example) and they may
seem very similar to postmodern works, but with postmodernism playfulness
becomes central and the actual achievement of order and meaning becomes
unlikely [11, 115-116].
Pastiche . Related to postmodern intertextuality, pastiche means to combine,
or "paste" together, multiple elements. In Postmodernist literature, many
postmodern authors combined, or “pasted”elements of previous genres and styles
of literature to create a new narrative voice, or to comment on the writing of their
contemporaries. For example, William S. Burroughs uses science fiction, detective
fiction, westerns; Margaret Atwood uses science fiction and fairy tales; Thomas
Pynchon, uses elements from detective fiction, science fiction, and war fiction. In
Robert Coover's 1 977 novel The Public Burning, Coover mixes historically
inaccurate accounts of Richard Nixon interacting with historical figures and
fictional characters such as Uncle Sam and Betty Crocker. Pastiche can also refer
to compositional technique, for example the cut-up technique employed by
Burroughs. Another example is B. S. Johnson's 1969 novel The Unfortunates; it
24

was released in a box with no binding so that readers could assemble it however
they chose.
Intertextuality. Intertextuality is the shaping of texts' meanings by other
texts. It can include an author’s borrowing and transformation of a prior text or to a
reader’s referencing of one text in reading another. The term “intertextuality” has,
itself, been borrowed and transformed many times since it was coined by
poststructuralist Julia Kristeva in 1966. As critic William Irwin says, the term “has
come to have almost as many meanings as users, from those faithful to Kristeva’s
original vision to those who simply use it as a stylish way of talking about allusion
and influence”. An important element of postmodernism is its acknowledgment of
previous literary works. The intertextuality of certain works of postmodern fiction
means the relationship between one text (a novel for example) and another or one
text within the interwoven fabric of literary history. Critics point to this as an
indication of postmodernism’s lack of originality and reliance on clichés.
Intertextuality in postmodern literature can be a reference or parallel to another
literary work, an extended discussion of a work, or the adoption of a style. In
postmodern literature this commonly manifests as references to fairy tales – as in
works by Margaret Atwood, Donald Barthelme, and many other – or in references
to popular genres such as science-fiction and detective fiction. An early 20th
century example of intertextuality which influenced later postmodernists is "Pierre
Menard, Author of the Quixote" by Jorge Luis Borges, a story with significant
references to Don Quixote which is also a good example of intertextuality with its
references to Medieval romances. Don Quixote is a common reference with
postmodernists, for example Kathy Acker's novel Don Quixote: Which Was a
Dream. Another example of intertextuality in postmodernism is John Barth’s The
Sot-Weed Factor which deals with Ebenezer Cooke’s poem of the same name.
Often intertextuality is more complicated than a single reference to another text.
Robert Coover’s Pinocchio in Venice, for example, links Pinocchio to Thomas
Mann’s Death in Venice. Also, Umberto Eco’s The Name of the Rose takes on the
25

form of a detective novel and makes references to authors such as Aristotle, Arthur
Conan Doyle, and Borges [10, 134].
Many postmodern authors feature metafiction in their writing, which,
essentially, is writing about writing, an attempt to make the reader aware of its
ficitionality, and, sometimes, the presence of the author. Authors sometimes use
this technique to allow for flagrant shifts in narrative, impossible jumps in time, or
to maintain emotional distance as a narrator. Though metafiction is primarily
associated with Modernist literature and Postmodernist literature, but is found at
least as early as Homer's Odyssey and Chaucer's 14th century Canterbury Tales.
Some examples of metafiction literary texts: At Swim-Two-Birds by Flann
O'Brien, Stephen King's Misery and Secret Window, Secret Garden, Ian McEwan's
Atonement, The Counterfeiters by André Gide, John Irving's The World According
to Garp, Alone on a Wide, Wide Sea by Michael Morpurgo, A Portrait of the Artist
as a Young Man by James Joyce, Oracle Night by Paul Auster, More Bears by
Kenn Nesbitt, and Cy Coleman's 1989 Tony Award best musical, City of Angels.
Temporal distortion . This is a common technique in modernist fiction:
fragmentation and non-linear narratives are central features in both modern and
postmodern literature. Temporal distortion in postmodern fiction is used in a
variety of ways, often for the sake of irony. In this literary the author may jump
forwards or backwards in time, or there may be cultural and historical references
that do not fit. For example, In Flight to Canada, Ishmael Reed deals playfully with
anachronisms, Abraham Lincoln using a telephone for example. Time may also
overlap, repeat, or bifurcate into multiple possibilities. For example, in Robert
Coover's "The Babysitter" from Pricksongs & Descants, the author presents
multiple possible events occurring simultaneously—in one section the babysitter is
murdered while in another section nothing happens and so on—yet no version of
the story is favored as the correct version. Technoculture and hyperreality: In his
essay of the same name, Frederic Jameson called postmodernism the “cultural
logic of late capitalism.” According to his logic, society has moved beyond
26

For example: Making pasta is as easy as one, two, three.
This analogy argues that making pasta and counting upwards
are equally easy things. This format, “A is as B” or “A is to B”, is a common
analogy structure. Another common structure for analogy literary devices is “A is
to B as C is to D.” For example: Gordon Ramsay is to cooking as Meryl Streep is
to acting. The above constructions work best in argumentative works. Lawyers and
essayists will often use analogies. In other forms of creative writing, analogies
aren’t as formulaic, but can still prove to be powerful literary devices. In fact, you
probably know this one:
“That which we call a rose / By any other name would smell as sweet” —Romeo
& Juliet by William Shakespeare. To put this into the modern language of an
analogy, Shakespeare is saying “a rose with no name smells as a rose with a name
does.” The name “rose” does not affect whether or not the flower smells good.
Symbolism . Symbolism combines a lot of the ideas presented in metaphor
and imagery. Essentially, a symbol is the use of an object to represent a concept—
it’s kind of like a metaphor, except more concise! Symbols are everywhere in the
English language, and we often use these postmodern literary devices in speech
and design without realizing it. The following are very common examples of
symbolism:
A few very commonly used symbols include:
“Peace” represented by a white dove
“Love” represented by a red rose
“Conformity” represented by sheep
“Idea” represented by a light bulb switching on
The symbols above are so widely used that they would likely show up
as clichés in your own writing. (Would you read a poem, written today, that started
with “Let’s release the white dove of peace”?) In that sense, they do their job “too
well”—they’re such a good symbol for what they symbolize that they’ve become
ubiquitous, and you’ll have to add something new in your own writing.
28

Imagery. Is imagery a postmodern literary device? Absolutely! Imagery can
be both literal and figurative, and it relies on the interplay of language and
sensation to create a sharper image in your brain. Imagery is what it sounds like—
the use of figurative language to describe something. In fact, we’ve already seen
imagery in action through the previous literary devices: by describing the tree as a
“god”, the tree looks large and sturdy in the reader’s mind. However, imagery
doesn’t just involve visual descriptions; the best writers use imagery to appeal to
all five senses. By appealing to the reader’s sense of sight, sound, touch, taste, and
smell, your writing will create a vibrant world for readers to live and breathe in.
The best writers use imagery to appeal to all five senses.
Let’s use imagery to describe that same tree. (I promise I can write about
more than just trees, but it’s a very convenient image for these common literary
devices, don’t you think?)
Sight imagery: The tree spread its gigantic, sun-flecked shoulders.
Sound imagery: The forest was hushed, resounding with echoes of the tree’s
stoic silence.
Touch imagery: The tree felt smooth as sandstone.
Taste imagery: The tree’s leaves tasted bitter, like unroasted coffee beans.
Smell imagery: As we approached the tree, the air around it smelled crisp
and precise.
Juxtaposition . Juxtaposition refers to the placement of contrasting ideas
next to each other, often to produce an ironic or thought-provoking effect. Writers
use juxtaposition in both poetry and prose, though this common literary device
looks slightly different within each realm of literature.In poetry, juxtaposition is
used to build tension or highlight an important contrast. Consider the poem “A
Juxtaposition” by Kenneth Burke, which juxtaposes nation & individual, treble &
bass, and loudness & silence. The result is a poem that, although short, condemns
the paradox of a citizen trapped in their own nation. These juxtapositions are also
examples of antithesis, which is when the writer juxtaposes two completely
29

opposite ideas. Juxtaposition doesn’t have to be completely contrarian, but in this
poem, it is.
Juxtaposition accomplishes something similar in prose. A famous example
comes from the opening A Tale of Two Cities by Charles Dickens: “It was the best
of times, it was the worst of time.” Dickens opens his novel by situating his
characters into a world of contrasts, which is apt for the extreme wealth disparities
pre-French Revolution.
Conclusion on chapter II
Based on the findings and discussions outlined earlier, chapter II provides a
deeper understanding of postmodern literature and its distinctive elements such as
fragmentation, intertextuality, metafiction and so on. the use of these stylistic
techniques in postmodern literature serves to destabilize traditional notions of
authorship, narrative coherence, and meaning, inviting readers to engage with texts
in new and innovative ways. The key points of the discussion include the role of
postmodern literature in questioning and deconstructing established narrative
traditions, integrating elements from various texts and cultural traditions, and
exploring the relationship between fiction and reality. The results of the data
analysis also reveal that postmodern literature promotes critical thinking, expands
insights, and presents complex views of the postmodern world. Overall, this
contributed to the field of literary studies by uncovering the importance of
postmodern literature and its impact in responding to a complex world. By
understanding the elements of postmodern literature and their implications, this
30

research provides further advancements in literary studies. It is important to avoid
repeating the experimental results or presenting an excessively long list. The usage
of stylistic techniques or devices evokes the emotion of readers and gives
satisfaction to get the massage.
CONCLUSION
To our knowledge, no systematic study of temporal structure in postmodern
discourse has yet been carried out and little attention has been given to this
particular theme of postmodern writers. In general, the category of temporality
manifests a correlation with the overall discourse structure. The postmodern time is
something to be constructed, shaped, and reproduced. Many writers prefer a
progression without chronology, using the so-called polychrony, a heterogeneous
temporality and chronological distortions (anachronies). For this purpose, they
break the sequence, put things out of order, locate events from the present back
into the past, describe a variety of temporal experiences, produce new experiences
of time, temporal and causal relationships become indistinguishable. Sometimes
due to anachronies the reader has difficulties with the reconstruction of the event
pattern of the story tying them together and learning the overall pattern of the
story. Notwithstandingthe seeming temporal chaos there is still a starting point of
31

narration, the so-called narrative now-point. The notable literary devices of
postmodern literature are paradox, unreliable narrators, unrealistic narratives,
parody and dark humor. Most postmodern literature also rejects the idea of a single
theme or meaning, choosing instead to have many meanings or forgo theme
entirely. This rejection of theme and meaning is often because many of its authors
and artists fail to see a singular meaning in the broken, disastrous world around
them. Instead, it often enjoys poking fun at those who try to find meaning
themselves. The notable literary devices of postmodern literature are paradox,
unreliable narrators, unrealistic narratives, parody and dark humor. Most
postmodern literature also rejects the idea of a single theme or meaning, choosing
instead to have many meanings or forgo theme entirely. This rejection of theme
and meaning is often because many of its authors and artists fail to see a singular
meaning in the broken, disastrous world around them. Instead, it often enjoys
poking fun at those who try to find meaning themselves. Th е r е sult о f int е rvi е w
c о nc е rning th е pr е p а r а ti о n, it w а s f о und th а t th е m а t е ri а ls us е d by th е instruct о rs
а t any c о urs е w е r е s о ft c о py а nd h а rd c о py t о h е lp th е m in t еа ching sp еа king.
Th е s е m а t е ri а ls w е r е c о nsid е r е d g оо d t о us е in th е pr о c е ss о f t еа ching а nd
l еа rning. Th е instruct о r pr о vid е d th е m а t е ri а ls t о b е pr е s е nt е d t о th е stud е nts in
t еа ching-l еа rning pr о c е ss. In а dditi о n, th е instruct о rs us е d print е d m а t е ri а l а s а
c о urs е b оо k. Th е us е о f c о urs е b оо k c о uld h е lp th е instruct о rs t о inc о rp о r а t е int о
cl а ssr оо m а ctiviti е s. It is а n inv а lu а bl е r е s о urc е . It n ее ds а d а pting t о m ее t th е cl а ss
n ее ds. Th е s е m а t е ri а ls w е r е v е ry h е lpful f о r instructi о n а l m а t е ri а l. It is in lin е with
Rich а rds st а t е s th а t g оо d instructi о n а l m а t е ri а ls а r е а n imp о rt а nt p а rt о f th е
pr о c е ss о f instructi о n. А m е th о d о f pr о j е cts, thus, is th е s е t о f е duc а ti о n а l а nd
c о gnitiv е m о d е s which а ll о w s о lving this о r th а t pr о bl е m а s а r е sult о f
ind е p е nd е nt а cti о ns о f stud е nts with о blig а t о ry pr е s е nt а ti о n о f r е sults. W е
а n а lyz е d s о m е е x а mpl е s h о w t о а chi е v е th е s е v е r а l а ims а t о nc е а t th е l е ss о n with
th е h е lp о f а pr о j е ct m е th о d.
32

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INTERNET RECOURCES
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htts://www. а c а d е mi а . е du
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https://di а ln е t.uniri о j а . е s
https://r е p о sit о ry.uksw. е du
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The stylistic techniques in postmodern literature

Sotib olish