пародия

The poetic song of Bulat Okudzhava «Vanka Morozov» is regarded as an early manifestation of the poet’s self-determination in the context of the romance tradition. Juxtapositions with the genre thought to be the source of the poem (urban romance), with the parody and stylization of romance in the literature of the XXth century are given. The genesis of the key images and motives is traced. A new interpretation of the romance poetics transformation in Okudzhava’s poetry is offered.

The article analyzes genre peculiarity of the Vice-King vaudeville – one of the first experiments in drama by I. Ilf and Ye. Petrov. The interaction of artistic means characteristic of the vaudeville genre and satirical comedy is considered; the focuses of dramaturgic action and the vector direction of the traditional vaudeville form update are identified.

The article researches the play poetics of the theatre piece «Lickspittle» by I. Ilf, E. Petrov, M. Volpin on the level of the plot, characters, literary reminiscences, language humor. Functions of the co-authors’ play strategy are identified, such as achieving the synthesis of satire and vaudeville principles and the techniques of text structure. The link between «Lickspittle» and the novel by I. Ilf and E. Petrov «The Golden Calf» is revealed.

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.

The article studies the play poetics in I. Ilf, E. Petrov, V. Kataev’s play The Rich Bride. The role of the play is singled out on the level of character and action development, and the language strategies of the co-authors. The satirical (social and political) underlying message of the new time vaudeville is revealed, as well as the ambiguity in portraying the kolkhoz life of the 1930s in the play.

It is generally known that the novel of Leo Tolstoy Anna Karenina is connected with the unfinished work of Mikhail Saltykov Blagonamerennaya povest’ (The loyal story), which was dedicated to the criticism of ‘natural’ motivation of human’s social life. However, already in 1863 Saltykov published a text which looked like a parody of a typical Leo Tolstoy hero portrait and like a precedent text with regard to the portrait of Anna Karenina.

The article deals with the interaction of humourous and frenetic motives in Fantomas novel cycle by Pierre Souvestre and Marcel Allain (1911–1913). It shows how the book reflects, on the one hand, a certain predilection of the ‘belle époque’ for a demonstration of repulsive aspects of death and, on the other, the influence of Grand Guignol theatre aesthetics. Fantomas novels are thus juxtaposed with Gaston Leroux’s prose.

The subject of this article is the analysis of the complexity of literary texts perception in the beginning of the XX-th century, the epoch of change of a cultural paradigm. The author considers such new lines of literary process as «the fashionable writer», change of a publishing policy and type of reader’s perception.