The article analyzes the transformation of a literary work by one of the founders of American Romanticism into a post-modernist film canvas. Materials for the analysis are a short story by Washington Irving, «The Legend of Sleepy Hollow» (1819) and a Tim Burton film, «Sleepy Hollow» (1999).
Jonathan Coe’s satirical novel «What a Carve-Up!» is analyzed through the prism of traditional Gothic elements; their contribution to the ideological, philosophical and compositional structure of the novel is revealed.
The image of the city often becomes a subject of literary studies. The article aims at expanding the issue of urbanism poetics and city influence in literature. The author investigates key aspects of the city as a socio-cultural phenomenon with the help of the works by Western and American urban theorists.
The article studies the autobiographical book by Julian Barnes, the contemporary English postmodernist writer, where his personal memories illustrate the illusive nature of memory and its limits, revealing such mechanisms of memory as subjective interpretation, forgetting and imagining.
The article is dedicated to the issues of the play poetics as philosophical, ontological, and aesthetic paradigm of the main movements of the modern literature. The main criteria of the play are analyzed in the theoretical research and literary works of the modernist and postmodernist writers.
The article considers the peculiarity of L. Dobychin’s narrative strategy on the example of the novel The Town of N; the author points out the significance of Yu. Tynyanov’s theoretic and methodological ideas for the modern research of post-modernist aesthetics.
What a Carve Up! by Jonathan Coe is analyzed as an example of application of traditional detective conventions in postmodern narrative; their ideological and compositional functions in the novel are revealed.
The article analyzes the early works of V. Pelevin from the collection Relics. early and unpublished. The author compares the early and late works of the writer and outlines the vector of his creative evolution, finds common ground between different texts of the writer. The author of the article refers to the practices of ‘Moscow conceptualism’ and outlines the connection between this tactics and Pelevin.
The article considers Number 11 by Jonathan Coe as an example of the postmodern language play with textual and extratextual reality and determines the role and functions of game practices employed.
