The principally significant shifts in the literary narration occur in the close interaction and as a result of the essential changes in the public, moral and creative consciousness of the human being, as a representative of the socium. Especially remarkable are the innovations of the narrative forms in the literatures of the 20 th century, the origins of which go back to the creative art of the most representative figures of the writers of late 19 th, early 20 th centuries and among them the most perspective and productive discoveries in the narrative style o of Dostoevsky and Chekhov in Russia and Joyce and Proust - in the West. It is the denial of the authoritarian, monolog narration, a new proportion of the positions and mental outlooks of the author and hero, their getting closer to each other, and sometimes, their union, the priority of the hero’s mental outlook and as a matter of fact the "author’s death." It is also a polylog with the reader, the latter’s engagement into its action. And finally, it is strengthening of an implicative filling of the literary reality, as well as the use of the consciousness flow as a prevailing form of the psychologism.
The above-listed creative innovations have been substantiated by the complicated relations of the individual with society, human being with the natural life, the new levels of cognition, technological discoveries and therefore - the new criteria and structure-building moral conditions of the individuality, striving to the deep perception of the world and him or herself in this world. It is not the final truth, but the effective path of the cognition of the world through the individual consciousness is becoming more and more important for the writer. This is where the establishment of the pluralistic outlook at the world to the contrary to the unification, opening of the borders of the visible world, denial of its rational and dogmatic explanation come from.
In the narration, the trend to universalism, generalized synthesis, saturation with parables, word expressiveness, the spatial and time multi-dimensional character (with possible access to some different world) is becoming to prevail in the narration. There is also some longing to formation of the new verbal reality with increasing plastics of the creative speech, a special density of the figurative level, as well as transition to the transformative way of cognition of reality, more frequent reference to the sign symbolism and the mythical images of the existence.