Volume 03 Issue 11-2023
47
International Journal Of Literature And Languages
(ISSN
–
2771-2834)
VOLUME
03
ISSUE
11
Pages:
47-53
SJIF
I
MPACT
FACTOR
(2021:
5.
705
)
(2022:
5.
705
)
(2023:
6.
997
)
OCLC
–
1121105677
Publisher:
Oscar Publishing Services
Servi
ABSTRACT
This article explores various aspects of fragmentation in contemporary literature, focusing on different forms of
fragmented narratives and their impact on reader perception. The paper introduces three types of fragmented
storytelling: weaving, bricolage, and mosaic. In the first part, weaving is examined, where fragments constitute
individual narrative projects interwoven into a complex yet interconnected structure. The second category, bricolage,
analyzes works composed of diverse fragments, creating a unique collage of literary elements. The third category,
mosaic, investigates novels where each fragment represents a complete narrative. The article also emphasizes the
blurred line between mosaic novels and collections of short stories, discussing the categorization of such mosaic
works as full-fledged novels. This article reveals the complexity and versatility of employing fragmentation in literary
fiction, offering readers a rich array of literary forms and strategies that allow works to play with traditional structures
and evoke new, more engaging reader experiences.
KEYWORDS
Fragmentation, narrative fragmentation, literary fiction, weaving, bricolage, mosaic.
INTRODUCTION
Postmodernism, a cultural and intellectual movement
that emerged in the mid-20th century, brought
profound
changes
to
our
perception
and
interpretation of the world. It challenged the grand
Research Article
EXPLORING LITERARY INNOVATIONS: A CLASSIFICATION OF
FRAGMENTED FORMS IN BELLES-LETTRES TEXT
Submission Date:
November 11, 2023,
Accepted Date:
November 16, 2023,
Published Date:
November 21, 2023
Crossref doi:
https://doi.org/10.37547/ijll/Volume03Issue11-07
Feruza Khajieva
D.Sc., Associate Professor Of The Department Of English Literature And Translation Studies, Bukhara State
University, Uzbekistan
Shakhnoza Rakhimova
M.A. Student Of The Department Of English Literature And Translation Studies, Bukhara State University,
Uzbekistan
Journal
Website:
https://theusajournals.
com/index.php/ijll
Copyright:
Original
content from this work
may be used under the
terms of the creative
commons
attributes
4.0 licence.
Volume 03 Issue 11-2023
48
International Journal Of Literature And Languages
(ISSN
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2771-2834)
VOLUME
03
ISSUE
11
Pages:
47-53
SJIF
I
MPACT
FACTOR
(2021:
5.
705
)
(2022:
5.
705
)
(2023:
6.
997
)
OCLC
–
1121105677
Publisher:
Oscar Publishing Services
Servi
narratives and certainties of modernism, introducing a
radical reevaluation of truth, representation, and
culture. M. Meyer writes, “language is not a precise
instrument but a power whose meanings are caught in
an endless web of possibilities that cannot be
untangled” [4, 2050]. This statement reflects a
deconstructive perspective on language, suggesting
that it is not a precise tool but a force whose meanings
are entangled in an infinite web of possibilities that
cannot be unraveled. Language is perceived as
unstable, and its meanings depend on context and
interpretation. One such unstable narrative technique
is considered fragmentation.
In Merritt Moseley’s exploration of fragmentation, it is
depicted that “the fragmentary fiction we are
interested in is fiction that feels fragmented, broken,
unfinished, incomplete, incoherent. It might also be
useful to think of works that are themselves
fragments, alongside works that are made up of
fragments, and some texts can have both
characteristics” [1, 3]. From this, it can be concluded
that it is important to consider not only works that are
inherently fragments but also those composed of
fragments.
Some
texts
may
possess
both
characteristics: they can be standalone fragments and
also consist of fragments pieced together.
Such a study of fragmented literature allows us to
examine not only the narrative character but also its
structure. Works that emdiv fragmentation are
intended to evoke a sense of disjointedness in the
reader and perhaps provide an active role in
constructing and interpreting the text. This entire
approach reflects a shift in the understanding of
literature, where traditional structures and narrative
methods are questioned in favor of more diverse and
experimental approaches to creating literary works.
Thus, it can be said that Merritt Moseley’s exploration
of fragmentation in artistic literature implies a nuanced
understanding of this literary technique. The focus is
on literature that not only depicts fragmentation but
also evokes a sense of brokenness, incompleteness, or
inadequacy. This characteristic reflects the essence of
narratives intentionally created to challenge traditional
structures and engage readers in a more participatory
and reflective experience.
Moreover, Moseley introduces an interesting
distinction between works that are inherently
fragments and those created from fragments. The
former implies a fundamental and inherent
incompleteness at the core of the narrative, while the
latter involves a conscious choice and arrangement of
fragmented elements to form an overall narrative
structure. This duality emphasizes the complexity of
fragmentation as a literary device and its various
manifestations in the field of artistic literature.
Recognition that some texts can possess both
characteristics - being inherently fragmented and
created from fragments - adds another level of depth
to the analysis. This acknowledgment underscores the
flexibility of fragmentation as a narrative strategy,
allowing authors to experiment with the form and
structure of storytelling.
Moseley
also
highlights
various
forms
of
fragmentation within artistic literature, such as “the
braid, the bricol
age, and the mosaic” [1, 4]. The first
type in Moseley’s categorization is “the braid,”
encompassing narratives with a characteristic complex
intertwining, reminiscent of a braided strand. He notes,
“the fragments can be called the braid, as they
function like discrete narrative projects presented
interwoven rather than in strict sequence. These may
Volume 03 Issue 11-2023
49
International Journal Of Literature And Languages
(ISSN
–
2771-2834)
VOLUME
03
ISSUE
11
Pages:
47-53
SJIF
I
MPACT
FACTOR
(2021:
5.
705
)
(2022:
5.
705
)
(2023:
6.
997
)
OCLC
–
1121105677
Publisher:
Oscar Publishing Services
Servi
be, among other possibilities, different plot
developments with different characters; or plot
developments that illustrate the same characters in
action at different times; or a story and the story of
how it was discovered” [1, 9]. In this case, fragments,
in this form of storytelling, resemble distinct narrative
intentions presented interconnected rather than
strictly sequential. These fragments may involve
different plotlines with different characters developing
in parallel. F.M. Khajieva in her book “Theoretical
Aspects of the Language Learned (Interpretation of
the Literary Text)” notes that “The braided structure
allows for a rich and complex exploration of themes
and characters, creating connections and resonances
across the distinct storylines” [3, 176]. They can also
represent different plot developments with the same
characters acting in different times.
Sellers notes that “braids—
story lines interwoven to
create the whole piece
—
add depth, energy, layers,
tension, and insight to your writing” [4, 416]. This
method of text creation allows the author to use
fragmentation not just as a way to present different
elements but also as a means of constructing a
complex and interconnected structure where the
reader can feel that multiple plot threads or story
elements are interwoven, forming a cohesive work of
art.
An example of the braiding form could be a narrative
with multiple timelines or points of view that ultimately
converge, creating a complex and interconnected
storytelling, as seen in David Mitchell’s “Cloud Atlas.”
Another example is William Faulkner’s novel “The
Sound and the Fury,” in which the narrative unfolds
through the perspectives of various characters and
time periods. The interwoven threads of each story
create a complex braid where the reader must piece
together the fragmented timeline and points of view
to understand the complete narrative. Additionally,
Kurt Vonnegut’s “Slaughterhouse
-
Five” u
ses a
braiding structure through nonlinear storytelling. The
protagonist, Billy Pilgrim, experiences moments from
different periods of his life without a strict
chronological order, creating a narrative braid that
reflects the character's perception of time.
Secondly, Moseley uses the term “bricolage” to
describe narratives created from diverse and
seemingly unrelated elements. The author also writes,
“The second category in my taxonomy of
fragmentation fiction is the bricolage, which applies to
novels made up of fragments of very disparate
materials” [1, 11]. In other words, bricolage is a literary
work in which fragments representing various,
seemingly unrelated elements are used. These
elements can differ in style, theme, genre, or other
parameters. They are brought together in the structure
of the work, creating a unique character and reading
experience.
Therefore, bricolage in literature is an artistic work
created from various, often unexpected and
characteristically dissimilar fragments, giving the text a
sense of mosaic and diversity.
A notable example of the bricolage form is Julio
Cortázar’s novel “Hopscotch,” where readers can
choose different paths through the chapters, creating
a unique reading experience with diverse and
interconnected fragments.
Additionally, the novel “84,
Charing Cross Road” by Helene Hanff is a bricolage of
letters exchanged between the author and a
bookseller from London. The use of letters as
fragments creates a unique collage of personal
exchanges, demonstrating the bricolage form within
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03
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(2021:
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5.
705
)
(2023:
6.
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)
OCLC
–
1121105677
Publisher:
Oscar Publishing Services
Servi
an epistolary structure. In Italo Calvino’s “If on a
winter’s night a traveler,” the narrative structure is a
bricolage of various stories. The novel switches
between the main narrative and fragments of different
novels that the characters are reading. This creative
composition of contrasting elements illustrates the
form of bricolage.
In the last category, the mosaic, narratives consist of
various but interconnected parts. Moseley describes
this type as “a novel composed of fragments each of
which is a narrative effectively complete in itself.
Clearly, the dividing line between the mosaic novel and
the collection of short stories is a blurred one, and the
right of such mosaic novels to be considered novels at
all is sometimes challenged” [1,
13]. A mosaic novel is a
work composed of fragments, each of which
represents a narrative effectively complete on its own.
Each fragment is a kind of separate, self-contained
story that contributes to the overall narrative. It is
important to note that mosaic novels represent a
unique form of literary experiment, where the
fragments, although independent, interact with each
other to create a more extensive narrative, and their
status as novels can be a subject of discussion.
A classic example is T.S. Eliot’s poem “The Waste
Land,” where fragments of different voices, cultures,
and historical references are carefully arranged to form
a unified and meaningful whole, representing a mosaic
of human experiences. Similarly, Julio Cortázar’s short
story “Blow
-
Up” (
later adapted into a film by
Michelangelo Antonioni) can be seen as a mosaic. The
narrative consists of seemingly unrelated fragments,
with each element contributing to the overall
understanding of a mysterious event. The story invites
readers to piece together the fragments into a
coherent
interpretation.
Additionally,
William
Faulkner’s “As I Lay Dying” can be considered a mosaic
of perspectives. The novel presents the viewpoints of
several characters from the Bundren family, with each
chapter acting as a separate fragment. Together, these
fragments create a mosaic of individual experiences
surrounding a common event.
By providing these examples, Moseley’s categories
come to life, illustrating how different authors use
fragmentation in various ways to create unique and
captivating literary works. The forms of braiding,
bricolage, and mosaic offer readers and writers a rich
palette of options to explore the complexities of
fragmented literature.
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