Tokhirova Dilrabo Muzaffar qizi 1
DOI: https://doi.org/10.5281/zenodo.15193845
Zenodo community: https://zenodo.org/records/15193845
Nordic_press journal: https://research.nordicuniversity.org/index.php/nordic/article/view/2318
MAQOLANI YUKLAB OLISH
SERTIFIKATNI YUKLAB OLISH
REVIEW:
In this insightful article, Tokhirova Dilrabo Muzaffar qizi delves into the narrative technique of analepsis (flashbacks) employed by Susan Hill in her works, particularly in I Am the King of the Castle and her short stories. The paper explores how Hill uses flashbacks to unravel the psychological complexity of her child characters, offering a deep analysis of how their formative experiences, traumas, and social interactions influence their present-day behaviors and emotional responses.
The central argument of the article focuses on how analepsis acts as a powerful tool in understanding the inner workings of Hill's characters, especially the child protagonists. The use of flashbacks serves to illuminate pivotal events from their pasts, providing the reader with crucial insights into their fears, insecurities, and growing pains. As demonstrated with the character of Kingshaw in I Am the King of the Castle, flashbacks to incidents such as his traumatic swimming pool experience reveal the roots of his fears, while also portraying the emotional neglect and lack of empathy from the adults around him. This technique not only humanizes the characters but also paints a vivid picture of the emotional landscape of childhood, shaped by both external influences and internal struggles.
The article also highlights how Hill’s flashbacks are not merely backstories, but crucial elements that enrich the narrative. By showing Kingshaw’s school memories, such as his mediocrity and his struggle with bullying, the flashbacks provide context for his emotional development and his place within the social hierarchy. The inclusion of school-related experiences, as pointed out by the author, helps readers understand how children navigate power dynamics and the complexities of social relationships, particularly in an institutional setting. The psychological toll of these experiences is evident in Kingshaw’s self-perception, which is shaped by both his school life and his fractured family dynamics.
Another significant aspect of the article is its analysis of how Hill uses flashbacks to explore the loss of innocence and the psychological impact of exposure to adult realities. Flashbacks to Kingshaw’s nightmares and his restricted access to newspapers illustrate how a child’s growing awareness of adult concerns can lead to psychological distress, further highlighting the theme of maturation. This approach aligns with literary theories about the narrative of maturation, where the child protagonist’s exposure to the darker aspects of life marks a shift in their worldview.
Moreover, the article expands its analysis beyond I Am the King of the Castle to Hill’s other works, such as The Boy Who Taught the Beekeeper to Read, Punishment, and Elizabeth, among others. It demonstrates how flashbacks in these stories provide an essential lens for understanding the psychological development of Hill’s characters. Whether it’s through the exploration of grief in The Boy Who Taught the Beekeeper to Read or the unresolved trauma in Punishment, the use of analepsis enriches the emotional depth of the narratives, portraying how childhood experiences—especially those involving family dynamics—shape individuals long into adulthood.
The review thoroughly examines the use of analepsis not only as a narrative technique but as a means to explore complex themes such as power, vulnerability, and the harsh realities of growing up. The integration of academic theories from scholars like Genette, Rimmon-Kenan, and Nikolajeva further strengthens the analysis, providing a solid theoretical foundation for the discussion.
In conclusion, Tokhirova’s article offers a thorough and compelling analysis of Susan Hill's use of flashbacks to explore the psychological depth of her child characters. The paper skillfully demonstrates how flashbacks are not simply narrative devices but vital tools in revealing the emotional and psychological development of the protagonists. Through this examination, the article contributes to a greater understanding of Hill’s works and provides valuable insights into the ways in which children’s literature can reflect the complexities of human psychology.
