Metaphors of movement in the narrative structure of the novels of 1920-1950s

This article is devoted to the analysis of the features of the rhetoric structure of the narrative in post-symbolism novels. The metaphors of movement in texts with different aesthetic moduses are the subject of research. The analysis is based on the comic novels by Vs. Ivanov, I. Ilf and Evg. Petrov, novels of social realism by F. Serafimovych and B. Pasternak's Doctor Zhivago. The heroes' movement is the basic characteristic in a narrative text. But the signs of the movement also have a potential of an 'integrator' of a narrative orderliness because they unite the meaning of the 'march of hi-stor/ and the flow of speech. While the extended metaphor has the potential of linking the 'event of speaking' and 'events of plot' the kind of a communicative intention can be identified by the way of metaphorisation. In Russian narratology the category of narrative strategy is being developed by V. Tiupa who thinks that this concept characterizes the three main levels of the narrative structure: the intrigue, the world view and the modality of the narrative. This article deals with the three narrative strategies (they can position the subject, the object or the addressee of discourse) which are typical for the literature of this period such as the strategy of 'agitation', the strategy of 'provoking' and the strategy of 'inspiration'. Each of them has their own set of ways, including the system of discourse metaphors, to be implemented in the novels. The clearest marker of the narrative world view is the choice of the kind of characters' movement. For example, in The Iron Stream the chaotic mass of people gradually changes into one machine with the help of a series of meetings. Ideological narrative is built as the ritual of a new cosmogony. In the comic novel, which actualizes the strategy of provocation, the way of the hero does not get in line with the collective marches but concurs with an individual choice (Ostap Bender wants to buy a train). The author, creating an 'occasional' narrative world, marks the instability, variability, incompleteness (which appeals to the reader) with the metaphors of movement. In U the narrator compares the creation of a novel and the 'pursuit' of truth, in Ilf and Petrov's dilogy the protagonist is the incarnation of the 'movement' of speech ('Остапа несло'). When the model of 'inspiration' is realized in the novel, the way of the hero becomes teleologically determined. Zhivago is likened to the way like Jesus Christ: 'шла дорога - 'шел доктор. To sum it up, the movement in the chronotope, which is an established 'technical' means of the narrative, marks the kind of the communicative intention such as the demonstration of the road to bright future, the carnival movement and the way to immortality when it is included into the metaphorical system of the text.

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