Julian Barnes

This paper examines four influential conceptual models of mental life, Freud's topographical and structural models, MacLean's triune brain theory, and Aristotle's tripartite soul, identifying functional overlaps and fundamental differences. It further addresses primary criticisms of each model and suggests how they may enrich contemporary psychological, neuroscientific, and philosophical discourse.

The novel The Only Story by Julian Barnes explores how memory plays an essential role in shaping love and identity through a reflective narration of the protagonist of the novel, reminiscing about his life and his affair with Susan, a middle-aged woman, dwelling deep into the intricate aspects of remembering and forgetting. The paper attempts to examine how the author portrays memory as both the cause of suffering and solace, emphasising its being selective, subjective and malleable. The protagonist's reminiscence of the past is more inclined towards emotional truth rather than factual accuracy, which highlights how one reconstructs the past to serve psychological needs through memory. How forgetting serves as a coping mechanism for the protagonist to manage the emotional hurt and pain of the struggles with Susan's struggles and eventual separation. Also, the act of forgetting proves to be insufficient

, contemporary British and North American Literature, Digital literature and culture, and Translation Studies. She has investigated works from a variety of media, with particular attention to the interaction between the New Technologies and fiction both in digital and in book form. She has been a lecturer of English as L2, English and Italian translation, CLIL methodology, ESP for over 10 years both at under-and post-graduate level. For 3 years she has been holding an Academic Writing course addressed to PhD students as well. This variety of courses and audiences has allowed her to experiment teaching approaches and methodologies (elearning, blended learning, flipped classes). Since late 2017, Laura Santini is Research Fellow (RTDa) at the Modern Languages and Cultures Department (University of Genoa) where she has joined three interdisciplinary research groups: ARGEC (Atelier de recherche Génois sur les écritures contemporaines), devoted to contemporary writing and to inter-, trans-and multimedia narratives ("The New Technologies and the Novel: Re-Coding Narrative in Book Form" forthcoming in Recherches sémiotiques/Semiotic Inquiry); PRA 2014 ("I confini delle città tra Modernità e Postmodernità") revolving around literature and the city, ("Mappe ʽaperteʼ nella narrativa speculativa di Douglas Coupland: dal centro al margine, dal dove al come, dall'io al noi", in Publif@rum 28, 2017); and since January 2018, CIRM, an interlinguistic research group working on Metaphors. Recently, she has also joined CIRAM -Centro Interdipartimentale di Ricerca sulle Americhe. 1 The unusual spelling of epistolarity, i.e. e-pistolarity with a hyphen, is intentionally meant to narrow the focus of this work to those printed novels that rely only on the new means of communications and technologies so that e-pistles are never letters as traditionally conceived, namely paper-based exchanges, but only correspondences carried out through digital or electronic devices and anyway via the internet connection. 2 See previous note as the word e-text(s) points to those text typologies through which the e-pistolary novels are compiled as it is discussed in the following paragraph. 3 Online social media (OSM) ̶ do not feature but for Twitter ̶ neither do most recent apps, such as Telegram or WhatsApp, as they were not yet available, not as widespread as they are now or they simply did not attract authors' interest.

In today's pluralistic society the old cultural monolithic myths have waned to give way for personal myths to form an individual's sense of the world. Personal mythologies, according to psychologist Stanley Krippner, perform the function of explaining, confirming, guiding, and sacralizing experience for the individual in a manner analogous to the way cultural myths once served those functions for an entire society (Krippner,1990: 139). Individuals create stories about their lives, often distorting or idealizing the past to fit their current understanding of themselves and the world highlighting the subjective nature of memory and the human tendency to mythologize their own experiences, sometimes to protect themselves from painful truths or to maintain a sense of coherence in their lives. In Julian Barnes's Booker Prize winning novel The Sense of an Ending (2011) the protagonist, Tony Webster, grapples with the fallibility of memory and the selective nature of personal storytelling, realizing that his own memories have been shaped and reshaped over time, creating a kind of personal mythology to shield himself from tragic truths. The paper aims to analyse how a psychotherapeutic act of writing a memoir works effectively to realise and then replace his self-deluding personal myth with a countermyth rooted in the collective unconscious to make an actual sense of reality.

This article compares British novelist Julian Barnes's novel A History of the World in 10½ Chapters with the novel The Incomplete Manuscript by Azerbaijani author Kamal Abdulla. In each novel accepted history is revised, the idea that history is subjective is explored, as well as the fact that history is fiction, and in the process a new alternative history is written. The postmodern liberation strategy of both authors emphasizes history, past revision, history's subjectivity, as well as the creation of a new alternative history to make history fictitious. The idea of history, catastrophe, error and human foolishness in Barnes's novel is similar to the ideas of a fictitious, imagined, authenticated reality in Abdulla's novel. This form of narration in Barnes's and Abdulla's novels is concerned with the ironic modes of 20thcentury thinking and the fact that human thinking has cast doubt on our understanding of the world. In Barnes's novel, history is a catastrophe, an erroneous ghost, while in the novel by Abdulla we find fiction, fabrication, and reality.

Flaubert’s Parrot is an irony that consists in deconstructing
biography, a factual representation of past events, to express scepticism
about narrative as a mode of representation. The problematic nature of
narrative is no doubt Flaubert’s Parrot “unstated” which along with the
stated (the ineffectiveness of biography) produces, in Hutcheon’s
definition, the ironic meaning (Hutcheon: 1994, 58). Barnes, in giving
fiction such a power of representation and in considering the novel as a
well-organized artefact that presents the reader with the ‘real’ in better a
way than scientific representations of past events (i.e the biography),
indicates the discontinuous inherent in any linguistic construct. By the
way, he questions the Realist novel and its pretensions to objectivity.

Analisa e comenta todos os dispositivos constitucionais alterados pela Emenda Constitucional nº 45, de 8 de dezembro de 2004, com ênfase para a criação do Conselho Nacional de Justiça, do Conselho Nacional do Ministério Público e do efeito vinculante ...

This paper examines how the protagonist of Julian Barnes's novel The Sense of an Ending (2011), Tony Webster, reconstructs his past through memory and narrative. Tony, an unreliable narrator in his sixties, attempts to decipher the truth and meaning of his past through his fallible memory and limited and insufficient documents. The central argument of

In her seminal work on historiographic metafiction, Linda Hutcheon notes that postmodern literature is characterized by self-reflectivity, parody, and intertextuality. What distinguishes her definition from other summations is the argument that postmodern literature does not only signal a self-conscious engagement with literature but also with history. Accordingly, she writes that "[t] he term postmodernism, when used in fiction, should […] best be reserved to describe fiction that is at once metafictional and historical in its echoes of the texts and contexts of the past" (Hutcheon 3; emphasis in original). The incorporation of fictional and historical intertexts "offers a sense of the presence of the past, but this is a past that can only be known from its texts, its traces-be they literary or historical" (4). To illustrate her idea, Hutcheon cites novels such as One Hundred Years of Solitude (García Márquez 1967), Slaughterhouse-Five (Vonnegut 1969), and The Name of the Rose (Eco 1980) which "put into question the authority of any act of writing by locating the discourses of both history and fiction within an everexpanding intertextual network that mocks any notion of either single origin or simple causality" (Hutcheon 12). These works reconstruct the past only to parody it, challenging history's problematic relationship with reality, objectivity, and universality. Exactly thirty years on, the concept has all but lost its salience in literary studies, the more reason to re-engage with it from a fresh perspective. While Hutcheon concentrates on the parody of history in postmodern fiction, I would like to draw attention to its use of geographical subject matter by proposing the concept of geographic metafiction as a spatial equivalent.

Re-reading Flaubert’s novel Madame Bovary through the concepts and theories revealed by Freud will yield important findings in the framework of literary research. The analysis aims to reveal the psychological background of Emma Bovary from different aspects and to reach various conclusions regarding the social roles of women in the 19th century.

Parler de L1diot de la famille en tant que flaubertiste n'est pas une chose évidente. Ou bien on s'applique à relever les• erreurs et les inexactitudes qui sont, hélas, nombreuses dans ce livre dont le volume démesuré (quelque 3000 pages en 3 tomes) effraie les lecteurs!). Ou bien on reproche à Sartre ses présupposés idéologiques et théoriques qui l'ont conduit à faire le portrait d'un écrivain somme toute peu

16-й выпуск сборника традиционно объединил ученых из Москвы, Санкт-Петербурга, Курска, Воронежа, Самары, Кирова, Саратова, Брянска, Калининграда, Челябинска, Марий-Эл, Мордовии, а также коллег из Беларуси (Минск, Витебск) и Казахстана (Актобе). Его отличительной чертой является взаимодействие специалистов в разных областях американистики: историков, филологов, культурологов.
Проблематика статей представляет интерес своим разнообразием и научной значимостью рассматриваемых в них сюжетов. Исследования отражают реалии внутриполитической и внешнеполитической жизни США XVIII–XXI вв., разные грани культуры. Среди рассматриваемых тем – американское рабочее движение, этническая и религиозная история США, российско-американские отношения на современном этапе, деятельность альянса AUKUS. Отражены такие сюжеты, как праздничная культура Новой Англии, свидетельства американцев о походе Наполеона в Россию, феномен «обратного расизма». Затронута проблема русофобии в журналах «Puck» и «Judy». Специальная рубрика посвящена 225-летию Российско-Американской компании. Ряд статей основан на архивных материалах. В свете новых подходов к изучению истории следует выделить нарратив, дискурсивный подход, визуальный поворот, полидисциплинарность, достижения интеллектуальной истории.
Материалы сборника рассчитаны на историков-американистов, преподавателей высшей и средней школы, студентов, бакалавров, магистров и аспирантов, а также всех интересующихся проблемами истории и культуры США.

This paper examines Julian Barnes’s Flaubert’s Parrot by the five semiotic codes of the French literary critic Roland Barthes introduced in his renowned work S/Z, to show that the novel is a ‘writerly’ rather than a ‘readerly’ text. The paper defines what Barthes means by the text of the writerly and then attempts to see if the selected novel yields to this sort of interpretation. Since the novel has been categorized as both modernist and postmodernist by prominent literary critics, it can be a proper case to be examined as a writerly text. The paper shows that the codes of semantic, symbolic and cultural which produce the writerly text are at work in this novel whereas the codes of the hermeneutic and proairetic which are concerned with the conventional realist novels are marginalized or even absent. The article examines the writerly text makers of the author role, the theme of biography, the notion of literary criticism and the narration of the novel, referring to the codes creating the writerly text. The paper finally concludes that the semiotic sophistication and innovations in the narrative act of the novel stem from the categories discussed in the essay, ending in the construction of a highly sophisticated writerly text.

"Médecin anglais spécialiste de Flaubert, Geoffrey Braithwaite vient visiter, à l'Hôtel-Dieu de Rouen, le musée Flaubert. Dans un coin, sur une étagère, il découvre le perroquet qui a servi de modèle à Loulou, le perroquet d'Un coeur simple.

Un peu plus tard à Croisset - où se trouvait la propriété de la famille Flaubert - il voit un second perroquet empaillé. Et la gardienne lui affirme avec autant d'assurance que le gardien de l'Hôtel-Dieu, que le sien est le vrai. Quelle est donc la vérité - celle des perroquets ou celle de l'écrivain ? La seule chose importante est-ce le texte, comme le soutenait Flaubert ? Ou l'homme et la vie peuvent-ils expliquer l'oeuvre ? Et Geoffrey Braithwaite (ou Julian Barnes, ou Gustave Flaubert) se met à écrire une, puis deux, puis trois biographies de Gustave...

Julian Barnes’ Flaubert’s Parrot (1984) is an experimental novel in which the narrator Geoffrey Braithwaite searches for parrots, multiple biographies, and truth(s) about the life of Gustave Flaubert. On the other hand, the novel has an infrastructure about Braithwaite’s personal life and grief that flows simultaneously with the surface layer of the narrative. All these concepts are treated as ‘holes tied together with string’ in the narrative of Flaubert’s Parrot, a phrase used for the definition of biography writing in the novel. With its intertextual, fragmented, parodic, and self-reflexive narrative, Flaubert’s Parrot has been often read and analysed having Postmodern literary theories in mind, centralising the experimental aspects of the novel. In this regard, Flaubert’s Parrot is a fruitful source to analyse with the postmodern consciousness as the novel approaches to past, history, biography and truth from the perspective that views these concepts not as solid, reliable or static, but as fluid, vague, and multiple. However, the infrastructure of the novel that is related with the loss of Braithwaite’s wife Ellen occupies an essential part in the novel, forming its raison d’etre as Braithwaite indicates that “Ellen’s is a true story; perhaps it is even the reason why I am telling you Flaubert’s story instead” (2012, p. 86). This study, by making specific references to Barnes’ memoir titled Levels of Life, presents how Braithwaite manages to insert his grief under the narrative of the search of Flaubert, his biography and his parrots. The study also compares Braithwaite’s approach to grief and mourning with the Freudian sense of the concepts.

This paper sets out a phenomenological account of how the autobiographical past can, on occasion, assume certain future-like qualities. I begin by reflecting on the analogy of a bore wave, as employed in a novel by Julian Barnes. Building on this, I turn to Simone de Beauvoir and Jean-Paul Sartre in order to address how our memories are revised in light of our current concerns and vice versa. Then, by adapting Edmund Husserl's conception of temporal "protention", I show how acts of remembering are integral to a process of ongoing reconciliation between our current orientation towards the future and the autobiographical past. They sustain, disrupt, and reconsolidate a nonlocalised, dynamic sense of who we are, in ways that are inseparable from how we experience time.

Abstract

Julian Barnes, whose writing style becomes evident in his almost all works, with a specific idiom and a versatile “irony” element that is tragic, humane, and not content with what is “negative”. In his former work, an ironic histography, “A History of the World in 10 ½ Chapters”, a counter-utopian experiment is already introduced. On the other hand, in "England, England”, whose main lines are its satirical novel, Barnes has taken the basic human situations such as power, genuineness, cynicism, and sexuality into the considerable distance and added an aesthetic multi-dimension to the boundaries. An exposition of the deeper layers of human existence by focusing on questioning the authenticity of traditional values of the past as well as the future of a future utopian. Cynicism and power, nostalgia and utopia, original or copy; if the project in question is the ultimate goal, every cultural object and life is supposed to be “recreated” and English “represented” by foreign tourists to be used as an entertainment park where money flows like grooves. In other words, once again, proving that the evil system called “capitalism” can enter every kingdom of Neverland. This paper focuses on utopia and dystopia through time in British literature, particularly within Julian Barnes's “England, England” in a comparative style regarding the same utopic or dystopic, on that note, the argument: “What would England be like in the future?”.

This paper focuses on the life of Sir Arthur Conan Doyle. It begins with the introduction to his family, his roots and will then go on to study his life. The research has focused on his experience in the schools and colleges he attended, his relationship with his mother and It is through these relationships that his perspective is analyzed.

The descriptions of characters' eating habits recurring in Michel Houellebecq's novels make a complex system of signs functioning at the textual and intertextual level as well as in reference to the extratextual reality, i.e., the situation of the Western society at the turn of the 21st century. The aim of this article is to identify the key points of this system and determine the possible directions of interpretation of these culinary motifs. For contemporary decadents from Houellebecq's novels, lone feasts are a new kind of ritual, which-unlike the traditional "ceremonies of eating"-does not help maintain interpersonal relationships but only provides temporary relief and helps them forget about problems.

The literary genre detective fiction has been famous among readers throughout the centuries. In the nineteenth century, it gained a reputation with Edgar Allan Poe and after him, the characteristics of the classic detective fiction were determined that should include the milieu, the victim, the murderer, the suspects, the detectives under the name of whodunit. However, after the Second World War, the world had to cope with postmodernism which questions, challenges and problematizes some aspects of life including this genre. From then on, the genre was not limited to involve a real detective, a real murder or a real crime; the investigation may deal with searching an item, a person, or one’s soul without bloody crime scenes or detectives and the mystery at the end of the fiction may be unsolved. In this study, under the light of Linda Hutcheon’s concerns about historiographic metafiction and parody, Julian Barnes’ Flaubert’s Parrot is intended to be analysed as an example of a postmodern detective fiction that problematizes the canonised characteristics of the classic detective fiction. 
Keywords:  Postmodernism, Postmodern Detective Fiction, Flaubert’s Parrot, Historiographic Metafiction, Parody.

Fleeing his home after the hanging of his father blamed of witchcraft, Tyll finds himself performing as a travelling artist, alternating between entertaining and insulting both the masses and the royalty, deftly dodging death while others around him are not nimble enough to avoid the Grim Reaper's scythe. Employing historiographic metafiction and narrative strategies of the war novel, Kehlmann highlights how war destroys human life. He depicts war with all its inglorious and gruesome details, bashing 'historical' accounts through the ridiculousness of his own characters attempting to write the same. Tyll, the artist, becomes the only character who is authentic and unheard, resilient in life but obscure in posterity. To explicate all of the above statements, the paper exploits the theoretic observations of Linda Hutcheon (1988) and Lidia Yuknavitch (2001).

La «Introducción» muestra el trabajo llevado a cabo por «ACIS, Grupo de Investigación de Mitocrítica», «Asteria, Asociación Internacional de Mitocrítica», «Amaltea, Revista de Mitocrítica». Cada dos años organizan un «Congreso Internacional de Mitocrítica» en la Universidad Complutense al que ya han asistido más de 1500 investigadores de más de 50 países. Este libro contiene una cuidada selección de algunas de las comunicaciones presentadas en el 8.º congreso (Universidad Complutense de Madrid, 25-28/10/2022). Todas han sido evaluadas por un comité científico ajeno al comité organizador en función de su rigurosidad metodológica y claridad explicativa.

Barnes: "the biographical novels are kind of cheesy"', https://www. theguardian.com/ books/2016/mar/23/ julian-barnes-biographical-novels-are-kind-ofcheesy, accessed 13 March 2019. 2 Cf. Umberto eco, 'overinterpreting texts', in Umberto eco with richard rorty, Jonathan Culler and Christine Brooke-rose, Interpretation and Overinterpretation, ed. stefan Collini (Cambridge: Cambridge University press, 1992).

Ovaj rad se bavi karakteristikama usmenog prevođenja stručnih tehničkih konferencija i daje sugestije za adekvatnu pripremu prevodioca. Pored toga se navode najčešće teškoće koje nastaju pri konsekutivnom i simultanom prevođenju sa ili na engleski jezik. Pisan je iz perspektive usmenog prevodioca i utemeljen na spoju pročitane literature i radnog iskustva. Ključne reči: usmeno prevođenje, tehnički engleski jezik, konferencije, teškoće u prevođenju

Ovaj rad bavi se pitanjem procesa prelaska modernog
romana sa metonimijskog u metaforični način izražavanja,
sa specifičnim karakteristikama i jednog i drugog načina, te
nastoji objasniti zašto je u književnosti s početka 20. stoljeća
moralo doći do te promjene. Rad posebnu pažnju posvećuje
stvaralaštvu Virginije Woolf i njenom najpoznatijem romanu
Gospođa Dalloway; daje prikaz osnovnih karakteristika njena
specifičnog stila i temeljit uvid u poetske elemente njene proze.
Ključne riječi: metonimija, metafora, poetizacija
romana, Virginija Woolf, Gospođa Dalloway.

Bevezetés 1 Problémafelvetés: a harmincas évek a woolfi életműben 1 Tézis: kulturális reflektáltság a harmincas évekbeli szövegekben 4 Kritikai kontextus, elmélet és módszer: recepció, kultúrszemiotika és szoros olvasat 7 Szövegelemzések: másság és azonosság 11 Fogadtatás: a harmincas évektől, a harmincas évekről 17 Woolf, a (női) modernista 18 Woolf, a női modernista 33 Woolf a harmincas években 50 Közelítés: elméleti-kritikai kaleidoszkóp 55 A (női)szerző-központú monográfia "a szerző halála" után 61 Határvidék: irodalomtudomány, kritikai kultúrakutatás, a társadalmi nemek kritikai vizsgálata 70 Mezők viszonya: modernizmus, női modernizmus és a harmincas évek 80 Intertextualitás mint kulturális emlékezet 91 Kaleidoszkóp-reflexió 104 Változatok a viktoriánus fedőtörténetre: Flush 106 Vicc vagy komoly allegória 111 Kezdet és eredet: retorikai trouvaille 118 A viktoriánus élet rajza: a Mitford-család mint mise-en-abyme 125 A viktoriánus életrajz 134 A viktoriánus (szoba)belső 143 Kulturális-narratív terek: Az évek 155 Keret és közjáték 162 Családregény a klubban 172 Családregény a nappaliban 190 Az esszé mint a kritikai beszéd tere: Három adomány 206 A Három adomány mint "dühös" szöveg 211 A beszélő mint kulturális disszidens 224 A levelező nő mint diszkurzív szubjektum 229 "Hazátlan gondolatok szigete"-Orwell kontra Virginia Woolf Három adománya 228 A sosem-volt Éden elvesztése: Felvonások között 252 Az idill csábítása 257 Táj és történelem 270 A szekérszínház és közönsége 285 Összegzés és nyitás: új vonalak a woolfi életműben 305

This article examines the literary-philosophical functions of shallowness and self-realization (particularly vis-à-vis memory) in Julian Barnes's The Sense of an Ending and Wilde's De Profundis. Beginning with a comparative reading of Barnes's novel and Kermode's critical classic of the same name, it shows how Barnes's narrator's need for Kermodian "concord fictions" causes him to distort and misremember his own past, making it shallower and more banal than it truly was. Engaging earlier critical literature on the novel, the article also reads Wilde's De Profundis (and Bosie's responses to it) as "nonfiction" counterparts to the project of Barnes's narrator. Wilde's own narrative self-realization is cited as a positive counterexample, while Douglas's Autobiography offers a sharp negative contrast. Reading Barnes's narrator Tony as falling between these extremes, the article ends by reflecting on the reconstruction of the past (and strange figuration of "the narrative present") that the novel's closure enables.

Julian Barnes in his novel The Sense of an Ending (2011) depicts an old man who is confronting some instances of his young age. In the process of remembering, he is dealing with the unreliability of his memory. This is both because of the nature of memories and some buried realities of his narrative. The film adaptation of the novel released with the same title The Sense of an Ending (2017), directed by Ritesh Batra and written by Nick Payne, represents sections from the past and the present of this man, Tony Webster, who tries to revalue his life by telling his life story. The film adaptation of the novel presents the subjective narrative of Tony through certain flashbacks, which carry significant traces of some annoying memories. The film adaptation keeps the novel's concerns about old age including some deviations within the plotline, yet it also contributes to the evaluation process of the slippery recollection of the memories that are shaping the present self of the mature individual. In this article, the film The Sense of an Ending adapted from Julian Barnes's novel that visualises the traces of a traumatic incident causing the old protagonist to re-evaluate his life will be elaborated on.

Words hardly ever occur on their own, because they can hardly mean anything on their own; when asked about the meaning of an isolated word, in order to figure it out, what one does is try to place it in a context or use it in a collocation. e verbal contexts in which words appear influence or at least clarify their semantic value; it is because of contextual factors that a word may have more than one meaning. erefore, the analysis above word level is extremely important. An analysis of translational decisions may also prove to be a valuable source of information in establishing the semantics of a lexical item. e above statements are illustrated by discussing the semantics of heart. e word occurs in a great number of structures in both English and Romanian, of which eight will be analysed: heart + verb; verb + heart; heart + of phrase; adjective + heart; heart + head noun; head noun + of heart; adjective + preposition + heart; heart in sayings or fixed expressions.

In order to speak a language correctly, one must know what words may combine or collocate with what other words. A combination or collocation that is semantically correct and acceptable in one language may not be so in a different language. The paper focuses on the translation into Romanian of English collocations in which one of the terms denotes a part of the body. Some of the collocations are translated literally, particularly if the the term is used in its primary sense. Very often, however, various changes take place in the translation of each of the items that form a body collocation.

Developing considerations on fiction, its characteristics, its role in society, especially in 2018 Brazil, this essay is a renowned Brazilian writer's incisive exposition of ideas regarding the nature, effects and the conditions of production and reception of fictional literature. It vehemently defends the power of fiction over authoritarian positions and social prejudices such as those that were at play in the country before the Presidential elections.

Julian Barnes’ Flaubert’s Parrot explores the journey of an amateur expert on Flaubert who aims to write a biography of the great French author, Gustave Flaubert. The narrator—Geoffrey Braithwaite—strives to discover the actual stuffed parrot that sat on Flaubert’s table and served as an inspiration for his 1877 story “Un Coeur Simple.” As the narrator tries to uncover the truth, he becomes obsessed with Flaubert, his life, and the investigation of the truth. The novel raises questions about what is considered to be historical truth. Are they the facts that can be verified by documents and records, or the stories and anecdotes that are passed down through generations? The novel blurs the line between fact and fiction, suggesting, parallel to the postmodern view, that there is no objective truth and that the search for historical truth is ultimately fruitless.

The Sense of an Ending (2011) by Julian Barnes touches upon many issues such as gender, class, sexuality, death, and memory. It particularly underlines how our memories can be misleading and thus create false images of ourselves as well as of the people around us. One of the subjects dealt with in the novel is the process of ageing. Barnes does not represent the period of senescence as the phase of decay and stagnancy. Rather, it is a new stage in one's life when a new sense of the self is formed and new facets of life-either positive or negative-are (re)discovered. Beginning particularly with the 1970s, old people with complex and interesting personalities have become the focus of contemporary fiction. The increase in the number of elderly people, the developments in gerontology and the theories of ageing have contributed to the emergence of new literary genres such as midlife bildung, reifungsroman and vollendungsroman. The aim of this paper is to focus on the complexities of later life represented in The Sense of an Ending and analyse the novel considering the features of vollendungsroman, a term suggested by Constance Rooke to define "the novel of completion" or "winding up".

There are many kinds of psychology branch in the world. In medical sector, psychology is used to cure real people. Psychiatrists use psychology to analyze the self of the people who suffer mental breakdown. In literature, psychology is used to analyze imaginary people who exist in literary works. All characters in literary works (whether it is in drama, prose or poetry) can be analyzed using psychology. Psychology is not only for analyzing literary works which is categorized as masterpiece, but it is also being used to analyze characters in pop literature. By analyzing pop literature, we will grasp the trend or culture in it. Pop literature is blooming in the market because publishers want to get maximum profit. The market proves that pop literature is more sellable compare to classic literature.

When the Man Booker Prize for 2011 was awarded on october 18 to Julian Barnes for his novel The Sense of an Ending, the decision was almost universally hailed. Barnes, aged sixty-five, had been shortlisted for the fourth time; he is clearly one of Britain's foremost living novelists; the bookmakers had made it a clear favorite; and The Sense of an Ending, while not his best book, is a genuinely fine novel. But the sense of relief felt by many observers was because somehow the judging panel and the Booker organization, after a series of gaffes and perplexing decisions, had finally gotten something right. Barnes's victory partially rescued what had been the strangest and most troubling Booker season for many years. the Booker began as an award for the best British novel of the year. that remains its central purpose; but, in a sprawling drive to build the brand, the organizers have invented retrospective awards-the Best of the Booker and the Booker of Bookers, both won by rushdie's Midnight's Children-and the Lost Man Booker for the novels published in 1970 that had no chance to win because of a change in the rules (awarded to J. G. farrell's Troubles). there is a russian Booker Prize. and there is a Man Booker international Prize, awarded every two years since 2005; the 2011 prize went in June to the american Philip roth and produced a Booker brouhaha, or, as it tends to be called, a kerfuffle, with the judge Carmen Callil resigning in protest. the international prize, worth £60,000, is judged by a panel of only three persons, all english-speakers (the other two were rick Gekoski, an author and a London book dealer, and Justin Cartwright, a south african novelist). the two men were strongly in favor of roth; Callil was opposed and clearly wanted the panel to default to another candidate acceptable to all three. in many, many published comments afterward she declared that roth "goes on and on and on about the same subject in almost every single book. it's as though he's sitting on your face and you can't breathe"; "i don't rate him as a writer at all"; and "roth digs brilliantly into himself, but little else is there.