Abstract

Advancements in modern “post-classical narratology” have undergone unprecedented growth in the last two decades, giving rise to various directions of narratological research within the cognitive and diachronic domains. One such approach is biosemiotics, which appeared at the crossroads of semiotics and cultural biology and combines a set of definitions for meaning-making and agency construction in philosophy, linguistics, culture, and all complex systems. Agency here represents any kind of subject activity (e.g., epistemic, cognitive, etc.) that can be determined by the indices and icons of subjectivity at the level of the storyline development and then compared at the level of the discourse. From the biosemiotic approach, the narrative discourse as a complex system is characterised by the meaning emergence and telic behavior of all its constituent parts striving at closure and a certain goal, i.e., having some agenda. Thus, the agency is supplementary to the acting of the self-reflecting subject in terms of intentionality, self-referentiality, and self-governing activity. Following the above definition of agency, this paper examines the possible ways of applying Peircian triadic sign theory to narrative agency construction in the contemporary novel “Asymmetry” (2018) by Lisa Halliday, operating with the notions of bodily and biosemiotic agency. Seeing subjectivity related to perspective-taking in the narrative discourse, it is important to trace the distribution of the icons and indexes of subjectivity on three levels: semantic, syntactic, and pragmatic.