NARRATIVE STRUCTURES IN THE NOVEL FRANKENSTEIN IN BAGHDAD

Abstract

Iraqi storyteller Ahmed Saadawi by examining the narrative structures from which this novel was formed. This study gave an analytical and descriptive approach to its main elements of time and place, and it examined how the two elements were employed in an artistic way as a container for the course of events. Events deviating from the sequence time. Baghdad (spatially) known for its civilizational, cultural, and security representation, was a field of crime obsession and unfamiliar violence, represented by the fragmentation of corpses, the expectation of explosions in any part of it, and the dominance of the permanent and pervasive fear, as if Baghdad had turned into a large minefield governed by the law of the jungle. The narrator did not forget to distinguish the open place (the street) from the closed place (the house). The perspective of the knowledgeable narrator prevailed in the construction of the novel, with the eye of the camera sometimes permeating to convey the scene completely with a portion of fertile imagination of the mythical character, and then the narrator diversified in the narration methods to move away from the monotonous line and thus create an attractive, moving suspense. The writer embodied the characters through the contrasting dialogue that tightens the narrative fabric, so he had the active role in the development of the characters, and then the expression of the events with merit within the framework of the negative personality, as if it refers to a name without a name befitting the description (non-character) ( what is his name).