Hyperrealism as an Artistic Phenomenon in French Literature of the 20th-21st Centuries

Abstract

The article deals with the concept of hyperrealism in the projection on a fictional work of the 20th-21st centuries. The study is focused on the features and techniques of hyperrealism, inherent in different types of art, which have been reflected in literature, in particular French literature. The period of powerful development of digital technologies made scientists wonder about the essence of reality, and taking into account the fact that the latter can create their own reality, their attitude towards it acquires different, modified features: what I see may be or may not be reality. Thus, the dominant philosophy of this period is the attempt to manipulate reality in various forms of art, both verbal and fine art. Hyperrealism in painting, sculpture, and cinema uses similar techniques. Therefore, the purpose of this article is to find out the techniques and means of hyperrealism in the French literature of the 20th-21st centuries. Works of French writers whose creativity is consonant with the techniques of creating/reproducing excessive reality in a literary text were selected as the illustrative base of the research. The methods of component and linguostylistic analysis, as well as elements of communicative-pragmatic and descriptive analyzes were applied to achieve the desired objective. Thus, in the article the narrative technique of detailing the image is positioned as the dominant technique of hyperrealism in French prose works, functioning at the compositional, linguistic, and syntactic levels of the literary text. It is found out that this technique is accompanied by a detailed description of the photograph as a reflection of the development of photorealism precisely in this period and by a realistic description of the city acquiring forms of working with the map. Detailing that runs through the whole content and structure of a fictional work of art is aimed at the reader, in particular at gaining his/her confidence in the events and/or actions depicted. Herewith, the text has a minimum of evaluative characteristics that could simulate the reader's opinion regarding events and/or actions, since all the detailing is directed to the free judgment of the reader. Therefore, the detail is the key element by which you can "grab" the reality, because changing the detail gives rise to a new spiral of reality. The content of the article can serve for further studies of modifications of the concept of reality, its dependence on the worldview of a man, and its multidimensionality on the material of works of fiction or other arts from the perspective of psycho or sociolinguistics.

Application of Digital Painting Technology in the Creation of an Oil Painting Containing Graphene

“…Nearest neighbor interpolation can ensure that the edge of the interpolated image is clear, and it also has simple and fast calculations, but it will bring aliasing to the edge, making the image visual effect very poor. In the image there will also be overlaps and holes [15].…”

Linguistic-Cognitive Scenarios of Nathalie Sarraute's Artistic Narrative

“…Therefore, the application of linguistic-narrative, linguistic-stylistic, and linguistic-cognitive analyzes made it possible to construct a cognitive-narrative scenography (according to Savchuk & Tuchkova, 2020) of French literary prose of the New Novel period and to reveal the peculiarity of the connections between the narrative organization of the New Novel's prose works and the systematic use of narrative techniques by writers, and as well as figurative and stylistic means of linguistic expression. Thus, the literary texts of N. Sarraute are characterized by a non-linear cognitive-narrative scenography, which is a set of linguistic-cognitive narrative scenarios, namely a spiral and a mosaic.…”

“…The methodology of researching the narrative structure of an literary text in classical narratology (Barthes, 1966;Genette, 1972), from the standpoint of text linguistics (Selivanova, 2006) and modern cognitive-oriented linguistic-naratology (Savchuk & Tuchkova, 2020) improved at each stage of its approbation from the formalized procedure of establishing the constituents of a literary narrative to various procedural methods of studying the text within the intraparadigm aspects of its study. Among the various methods of analyzing the narrative structure of a work of art, the most effective are the narratological, descriptive, structural, and interpretive methods.…”

“…Modern narratology with its basic concepts, criteria and categories outlined not only new tools for the analysis of literary texts, but also changed the focus of its research. In text-oriented studios (Beaugrande, 1980;Charaudeu, 1983;Chartier, 1990) narratology began to be interpreted as an integrated research technology that is included in the context of discourse analysis (Savchuk & Tuchkova, 2020;Maingueneau, 2021), which involves revealing the interdependence of the form and content of a literary text. In the field of literary form in general (Shirova & Goncharova, 2018) and narrative in particular (Jeandillou, 2006;Nünning, 2010) the content-ideological plane of the work (according to Propp, 1963) is realized in the repetition of functions, the combination of which determines the narrative structure of the text.…”

“…The use of narrative (Genette, 1972), linguistic-narrative (Savchuk & Tuchkova, 2020) and linguistic-cognitive (Vorobyova, 2022) approaches to the study of the linguistic-cognitive scenarios of the narrative of the French literary text of the New Novel period enables the interpretation of the latter as a complex, multi-level, open and non-linear structure. The identification of the principles of building such a narrative can be seen in the elucidation of the main narrative structures and forms of the New Novel's literary text, taking into account the linguistic and cognitive functions of expressive and pictorial means and stylistic techniques.…”