Criterion

1. Modern Novel
2. Postmodern Novel

Title

1. Name and surname of a person

2. Joke of the novel
Structure

1. Close structure

2. There is no a predefined structure
Time

1. chronological, inner, psychological

2. Psychological, time of the consciousness; nonlinear timeline
Place

1. Multiple and contrasting perspectives

2. There is no a constant place; consciousness and inner reality
Storyline

1. facts, situations, events

2. There are no complex stories, the writer is concentrated onthe writing process

1. historical narrative of the development of novelistic plot that is as powerful as it is questionable. subordinate the problem of beginnings and endings to the problem of constructing a logical sequence of events

2. rejection of plot and character as meaningful artistic conventions
Narrative strategy

1. Juxtaposition, irony, comparisons, and satire

2. interest in metafiction, that is, fiction about the nature of fiction; hypertext fiction; irony and humor
Kind of narrator

1. First person omniscient intrusive narrator

2. the narrator constantly breaks the illusion of realism to make reference to the conventional codes of literature which he is currently employing
Reader's position

1. Frustrated and disoriented

2. Disoriented and disillusioned; narratives could be constructed by the reader, or allowing the reader to make decisions regarding the course of the narrative
Language use

1. Language of parody

2. less reliance on traditional narrative form, less reliance on traditional character development, experimentation with point of view

Themes

1. The radical disruption of linear flow of narrative; the frustration of conventional expectations concerning unity and coherence of plot and character and the cause and effect development thereof; the deployment of ironic and ambiguous juxtapositions to call into question the moral and philosophical meaning of literary action; the adoption of a tone of epistemological self-mockery aimed at naive pretensions of bourgeois rationality; the opposition of inward consciousness to rational, public, objective discourse; and an inclination to subjective distortion to point up the evanescence of the social world of the nineteenth-century bourgeoisie. (Barth, "The Literature of Replenishment" 68)

2. rejection of mimetic representation in favour of a self-referential "playing" with the forms, conventions and icons of "high art" and literature; the rejection of the cult of originality in recognition of the inevitable loss of origin in the age of mass production; and the rejection of meaning itself as delusory.
Effects

1. collapse of the distance between subject and object; shift from an epistemological aesthetic to an ontological aesthetic

2. device which brings about defamiliarisation and draws attention to the conventional nature of style and narrative
Which is the position of the novel inside the genre?

1. the middle classes become more prosperous, Women got more leisure to read as well as write novels. Novels began exploring the world of women, their emotions and identities, their experiences and problems. Many novels were about domestic life- a theme about which women were allowed to speak with authority. Women drew upon their experience, wrote about family life and earned public recognition. Novels were written for young readers too. These novels for young boys idealized a new type of men: someone who was powerful, assertive, independent and daring. Stories for boys were full of adventure set in places far away from Europe. Stories about white-men colonizing the natives and adapting to the strange surroundings appealed to the young boys.

2. Role in the creation of literature; role in the creation of society, educational role.
Which ideology prevails?

1. prevailing sense of disillusionment and fragmented thought

2. Disjunction; irrationality; self-reflexiveness; simultaneity; anti-illusionism; moral pluralism

Context of the production

1. First three decades of 20th century: increasingly industrialized and globalized world; post - World War One period

2. "late-capitalist" world of the post 1950s