Compositional parallelism in the novel "The Green House" by M. Vargas Llosa
The article attempts a systematic analysis of the composition and structure of dialogues in Mario Vargas Llosa's novel "The Green House". The relevance of the work is due to the attention of modern humanities to the Latin American novel of the second half of the twentieth century, the period of the so-called "Latin American boom", which is of particular interest in connection with the global trend towards globalism. The methodological basis of the study was the works of A. N. Veselovsky, V. M. Zhirmunsky and R. O. Yakobson, as well as the principles of structural analysis of the text and the technique of close reading. In the course of the study, it turns out that M. Vargas Llosa, intending to create an epic text that captures reality in the word, turns to compositional parallelism as a technique that allows the most vividly convey the effect of "recreated reality". The article describes the structure of the novel created by Vargas Llosa, analyzes and systematizes the sequence of chapters and parts, as well as their correlation with the manner of narration and various types of dialogues. In total, there are three types of dialogue in the novel, and an attempt is made to classify them based on V. V.'s terminology. Vinogradova. Analyzing the structure of the novel, the authors come to the conclusion that "The Green House" is not a static, but a dynamic text, whose structure changes, collapsing towards the end, but its "movement" is a compositional and semantic unity. M. Vargas Llosa refuses in the second part of the novel from compositional parallelism as a key technique, which leads to the destruction of the structure of the text and is due to the plot and the change in the type of relationships at the level of characters.