The Fiction of Julian Barnes

Guignery, Vanessa

doi:10.1007/978-0-230-80221-6

Cited by 26 publications

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“…Literary criticism and popular press writers coined the terms retroactive jealousy (e.g., Ben-Zeév, 2013;Scrimgeour, 2015;Stockill, 2013) and retrospective jealousy (e.g., Ben-Zeév, 2013;Guignery, 2006) to refer to jealousy directed at the past. Retrospective jealousy occurs when a partner feels jealous when thinking of a rival who actively interfered in the current relationship at some point in the past (Fox & Frampton, 2017).…”

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Social Media’s Role in Romantic Partners’ Retroactive Jealousy: Social Comparison, Uncertainty, and Information Seeking

Frampton

Fox

2018

Social Media + Society

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Social media often have a dark side in romantic relationships. Affordances such as persistence, association, and visibility can promote romantic jealousy and the salience of relationship threats, including ex-partners. Retroactive jealousy occurs when a person feels upset about their partner’s romantic history even though ex-partners are not actively interfering in the current relationship. Interviews ( N = 36) probed how participants felt social networking sites (SNSs) promoted and mitigated retroactive romantic jealousy. Furthermore, we examined the consequences of these experiences. Participants indicated that SNSs lead to retroactive jealousy via social comparison, digital remnants, and relational uncertainty. In addition, participants used SNSs to gather information or monitor their partners. These information-seeking activities allowed them to disparage a romantic partner’s exes; avoid direct, interactive information seeking about exes; and digitally fact-check information the partner disclosed. Some participants reframed information about the ex-relationship or actively avoided SNSs to reduce retroactive jealousy. Although SNSs may be used in an attempt to mitigate retroactive jealousy, our findings suggest this strategy may backfire in some cases.

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Social Media’s Role in Romantic Partners’ Retroactive Jealousy: Social Comparison, Uncertainty, and Information Seeking

Frampton

Fox

2018

Social Media + Society

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“…Барнса, поскольку, как считает исследователь, пейзажэто часть живописного пространства литературы, ее словесной «географии». Монография В. Гиньери [10] затрагивает широкую проблематику произведений Дж. Барнса разных лет.…”

Section: природа писательского творчества и поэтика постмодернизмаunclassified

“…Роман «Попугай Флобера» в данном случае представляет пример особого жанра постмодернистской прозы, когда автор, сопоставляя несколько разных событий жизни выдающей личности из иной культуры в причудливой комбинации подлинного и выдуманного, парадоксальным образом добивается убедительности, достигая эффекта подлинного в рамках поэтики исповедального психологического романа, который является одновременно и очень личным, и достаточно отвлеченным, интимным и метафизическим [10]. Одновременно это произведение о том, что творение принимает форму на разных уровнях творческого вдохновенияи каждый создатель самым этим фактом признается, кто он есть.…”

Section: заключениеunclassified

Truth and Inspiration: On the Nature of Literary Creativity (by the Example of J. Barnes’s Novel “Flaubert’s Parrot”)

Tolkachev¹

2021

Philology. Theory & Practice

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Цель исследования -рассмотреть вопросы философии и психологии творчества, а также проблемы поиска истинных фактов биографии выдающегося писателя на примере постмодернистского романа современного английского прозаика Джулиана Барнса «Попугай Флобера» (1984), вошедшего в шорт-лист Букеровской премии. Научная новизна исследования заключается в том, что устанавливается связь между метафорами творчества и изменчивости правды, представленными в данном произведении, и особенностями постмодернистской поэтики, что парадоксальным образом помогает добиться эффекта подлинного в рамках жанра исповедального психологического романа. В результате доказано, что постижение истины о творческом вдохновении писателя тесно связано с отказом от абсолютной истины и со стихией случайного, которому подвержена жизнь человека, в данном случае классика французской литературы, о котором и идет речь в романе.

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“…The American novel was huge, like a Victorian novel'; 10 and Barnes, when asked to distinguish American fiction from British, says that 'American fiction displays scope, audacity, and linguistic vigor'. 11 Barnes identifies as a European writer and talks far more of the grand European tradition than American literature; but for all his bowing to the great French and Russian novelists of the nineteenth and early twentieth centuries, Updike and Roth seem more tangible presences in his work. He is perhaps throwing us off the scent a little when he says: 'American novelists are so different from English novelists.…”

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The Cambridge Companion to British Fiction: 1980–2018

Boxall¹

2019

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In a eulogising essay following the death of John Updike in 2009, Ian McEwan wrote: 'American letters, deprived in recent years of its giants, Bellow and Mailer [and now Updike], is a levelled plain, with one solitary peak guarded by Roth.' 1 Philip Roth would go on to announce his retirement from writing in 2012 and passed away in 2018, thus eradicating the final face from McEwan's literary Mount Rushmore. McEwan's friends and peers, Martin Amis and Julian Barnes, similarly wrote eulogies for Updike; just as McEwan and Christopher Hitchens (another member of their literary set) had done for Saul Bellow in 2005 ('What other American novelist', asked Hitchens, 'has had such a direct and startling influence on non-Americans young enough to be his children?' 2 ), while Amis and McEwan both spoke at Bellow's memorial in New York. Amis also wrote an account of Roth's oeuvre the year after his retirement, 3 and followed this with an appreciation after his death, while McEwan remembered Roth on BBC Radio. 4 Thus, in the early years of the twenty-first century, three of Britain's most acclaimed and criticised novelists -Amis, Barnes and McEwanfound themselves reflecting on the enormous influence of a senior generation of American writers now passed, and were perhaps left wondering where this placed their own generation on the altered literary landscape. Certainly, Zadie Smith, one of the major-voices-to-be of a new twenty-first-century literary generation, regarded Amis, Barnes and McEwan as a collective in its own right: 'Better to cultivate a cipher-like persona, be a featureless squib called Mart, Jules, Ian', writes Smith in her debut novel, White Teeth (2000), suggesting her indebtedness in perhaps the way they would most appreciateironically. 5 Smith was not the first to identify these writers as a group or gang. Since at least the 1980s the media has imagined them as an exclusive all-male group of cronies and sometimes rivals, also including Salman Rushdie and Hitchens among their ranks (both of whom became American citizens), as well as the poets Craig Raine and James Fenton, and more senior figures like Clive James and Ian Hamilton. Many of these writers were first corralled under the stewardship of Hamilton at

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The Fiction of Julian Barnes

Cited by 26 publications

References 0 publications

Social Media’s Role in Romantic Partners’ Retroactive Jealousy: Social Comparison, Uncertainty, and Information Seeking

Social Media’s Role in Romantic Partners’ Retroactive Jealousy: Social Comparison, Uncertainty, and Information Seeking

Truth and Inspiration: On the Nature of Literary Creativity (by the Example of J. Barnes’s Novel “Flaubert’s Parrot”)

The Cambridge Companion to British Fiction: 1980–2018

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