Postmodernism in Turkish literature has lost its novelty effect, but for many it is still a rather strange phenomenon. There is indeed a lot of unusual and shocking things about postmodernism. Special signs: devoid of the traditional "I" - his" I " is multiple, impersonal, indefinite, unstable, reveals itself through the combination of citation; adores the state of creating chaos, intoxicated by the process of pure becoming; encoded, even twice; combines the unconnected, elitist and egalitarian at the same time; reaches out to the marginal; softens oppositions; distances himself from everything linear, unambiguous; always finds an opportunity to escape from any form of totality; prefers the production of desire to all types of production. Favorite activities: traveling (in the cultural space), playing (with cultural signs, codes, etc.), designing/redesigning, modeling (possible worlds). This article is the first Russian study of postmodernism in the literature of the foreign East.

Turkish postmodernism emerged in the second half of the 1980s, 20 years later than the American and European postmodernism, which during this period experienced a rapid rise. This "delay" is explained, on the one hand, by the spiritual state of Turkish society, which later than the West found itself "drawn" into the process of globalization, the expression of which at the cultural level is postmodernism. On the other hand, the strong dominance of realistic, socially oriented literature in the national literature of the XX century (toplumsal gergekgilik), which for quite a long time became an insurmountable barrier to the penetration of unified ideas and principles of Western mass media culture, and the weakness of modernism (bunahm edebiyati), which, in principle, was not "pure"."modernism. "Bunalim Literature "(literature of crisis, alienation), represented by the works of Guven Turan, Saadet Timur, Nejati Tosuner, Leyla Erbil and others. - a very peculiar national version of existentialism and Freudianism, which is not always comparable with the classical examples of the modernist tradition, which gave rise to domestic researchers to call it "literature of a modernist orientation" (Uturgauri, 1985, p. 50). Meanwhile, it was the rich and diverse experience of modernism in the post-industrial societies of Western Europe in the 1960s and 1970s that became fertile ground for the development of postmodern literature borrowed by Europe from America.

Turkish postmodernism, which is characterized by an exceptional variety of trends, occupies a middle position between the western (American and Western European) and eastern (Eastern European) modifications of postmodernism, being in a certain diffuse zone in which the features of both models are crossed. Having absorbed from Western postmodernism a close attachment to post-structuralist-postmodernist theory, the use of diverse samples of Western mass media has become a major problem.-

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as one of the languages of the hybrid-quotation superlanguageof simulacra1, it has much in common with the Eastern modification (Russian, Polish, Macedonian literature): politicization and pessimism.

If we talk about the national identity of Turkish postmodernism, it is determined primarily by the Turkish language itself (as the primary semiotic system), which was used to create a literary language; the presence in the text of deconstructed quotations from the Eastern cultural tradition and Turkish culture itself; attention to issues of particular importance for Turkey, i.e., to the national problems considered through through the prism of cultural philosophy; national mindset, type of humor and irony.

The appearance of the first postmodern work in Turkish literature is associated with the publication in 1985 of the novel by Orhan Pamuk (born 1952) "White Fortress" (Beyaz kale), which could be likened to a bomb explosion. The Turkish reading public, who until then had not been familiar with postmodernism, was shocked. On the one hand, the narration easily guessed quotes from the Muslim literary tradition ("Tales of 1001 Nights", Attar, Djelaleddin Rumi, Evliya Celebi); on the other hand, there were fantasy, mysticism of "scary stories" by E. Poe, mysterious manuscripts, dreams, labyrinths of X. Borges, allusions to the philosophical ideas of existentialism. Pamuk was accused of plagiarism and "fashionable experimentation". But at the same time, an interesting adventure story in the spirit of mass book production, leading back to the XVII century. It was also an intellectual enigma that attracted readers.

Following O. Pamuk in the late 1980s, a whole galaxy of postmodernists entered the country's literary arena (Muratkhan Mungan, b. 1955; Nazly Eray, b. 1945; Latife Tekin, b. 1957; Pynar Kur, b. 1943; Hilmi Yavuz, b.1936, etc.), each of which brought its own unique features to the palette of postmodern poetics. Being people of diverse talents, they created works at the intersection of prose, poetry and drama (M. Mungan, P. Kur), breaking the boundaries of literary work and charting ways to universalism within the framework of literature itself. But along with the fruitful trends in the development of Turkish postmodernism, others, sometimes simply frightening, have also made themselves known. "Quoting" without philosophy, the elementality or even emptiness of the signified, to which the appropriated deconstructed signifiers were reduced, the arbitrary mixing of styles of different trends and epochs testified that the very fact of following the principles of postmodern aesthetics is not a guarantee of success. And yet it is precisely postmodernism in the context of the crisis of Turkish literature, in which at the end of the XX century. the process of "blurring" trends and trends was outlined, introduced new ideas and concepts to national literature, ways of mastering reality, and breathed new life.

The emergence of postmodernism on Turkish soil was due to many reasons. First of all, it was an aesthetic reaction to disillusionment with all the utopias that existed earlier in society - socio-historical, philosophical, scientific and artistic. Turkish literature gradually began to gain self-sufficiency, freedom from the overwhelming society that it was supposed to serve, and awareness of its iconic essence and playful nature. Here, too, a certain exhaustion of the previous traditional types of artistry - modernism and social realism - was reflected, which set the new generation of artists the task of creating an aesthetic system that would meet the requirements of modern art.-

Simulacrum 1-a term of postmodern philosophy coined by the French philosophers J. Bataille, P. Klossowski, J. Baudrillard, and J. Deleuze-is a copy of a copy, and if the "copy" still bears a resemblance to the "original", then the "copy of a copy" no longer bears such a similarity.

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during the "transition" time. In fact, Turkish postmodernists were revising the traditional view of literature as a reflection of reality. They did not even try to maintain the illusion that their works are life. On the contrary, they constantly emphasized that their works are a text that no longer reflects the existing reality, but creates a new textual reality, or rather polyreality, based on hybrid - quote pastiche2from the previous literary tradition, emphasizing secondary connotations of words and active deconstructivist work.

This perception of reality was promoted by the active development of computer technologies, games, virtual worlds of the Internet, the power of the media, and their ever-increasing influence on social psychology.

In the 1980s, the boundaries of communication between Turkish culture and the world significantly expanded, and a kind of "interchange" of aesthetic values and discoveries began. Turkish literature, which is relatively young, actively absorbed the lessons of the works of U. Eco, X. Borges; its representatives read with great interest the philosophical and aesthetic works of J. P. Blavatsky. Derrida, F. Lyotard, M. Foucault, R. Barth. At the same time, unlike postmodern poetics, which was "absorbed" quite easily, postmodern philosophy was not open to everyone. The lack of erudition, ignorance of foreign languages affected.

For the formation of postmodern literature on Turkish soil, the very personality of O. Pamuk was of great importance, who, undoubtedly, is an extraordinary person, perfectly versed in the issues of the entire post-structuralist-deconstructivist-postmodern complex 3. O. Pamuk was the first to introduce a postmodern worldview into national literature: an awareness of the multiplicity of truth, the multiplicity of its meanings, which cannot be reduced to its fluidity, openness, and at the same time a sense of chaos and fragmentation of the modern world, which has the latest technologies that allow it to manipulate the consciousness of the masses; a world in which there are no criteria of values; a world marked by a "crisis of faith" in all previously existing values. Recreating the chaos of life with the artificially organized chaos of postmodern storytelling, he used a collage of genres ("high" and "low"), recoding them in a postmodern game of "lower-higher"; rhizomatic4 image of the surrounding world, in which the linear sequence of times is broken and the idea of a "bright future" is overthrown; simulacrum images; "author's mask", hiding behind which, the writer balanced between the position of an aesthete-polymath and a clown-

Pastiche 2-an opera whose music is borrowed from various previously written operas or specially written by several composers - is a concept of postmodern philosophy that implies parody, imitation of various manners and styles in their ironic reinterpretation.

3 This term is associated with a broad and influential interdisciplinary trend in the cultural life of the West in the 1970s and 1990s, covering various areas of humanitarian knowledge.

Rhizome is a term developed by French philosophers, theorists of post-structuralism and postmodernism Gilles Deleuze and Felix Guattari, who distinguished two types of modern culture: the "tree" culture and the "rhizome"culture. The first type of culture tends towards classical models (art reflects the world; the symbol of such art is a tree with its trunk in the sky and its roots in the ground; the book is the embodiment of the "tree" art world). The second type of culture is the culture of the "rhizome" or "rhizome", which is a special mycelium, the root of itself. Rhizomatic culture embodies a non-linear type of aesthetic connections: structurelessness, multiplicity, and confusion. Such a culture does not depict, but maps. The book becomes not a tracing paper, but a map of the world.

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jester, overthrowing the cult of the writer-prophet, who brings people almost the Revelation of God; and many other features of the poetics of postmodernism.

O. Pamuk, who represents one of the trends of Turkish postmodernism, is mainly interested in the processes occurring in the sphere of consciousness and the collective unconscious, the individual psyche, their impact on the course of national history, and social behavior of people. Hence the attention to the phenomenon of ideology, advertising, the possibilities of computer technologies, psychedelics, and the study of the current state of the Turkish national archetype (the novels "Black Book" - Kara kitap, 1990; "New Life" - Yeni hayat, 1994;" Snow " - Cat, 2002). O. Pamuk's novels are not devoid of national features, but the national does not acquire the character of a centering idea that can act as a positive program. These novels contain signs of a specific historical time and a specific geographical space (most often within Turkey). They are moderately politicized, have fascinating detective-adventure plots, which makes them interesting for both the sophisticated intellectual and the unsophisticated mass reader.

Another trend is embodied in the work of M. Mungan, which, despite a certain egalitarianism, is still more focused on the elite reader. It is an example of maximum denationalization, depoliticization, close attachment to post-structuralist-postmodern theory, and the use of codes exclusively of Western culture in the hybrid-quote superlanguage of simulacra. The writer saturates his works with English words and expressions, sometimes composing mutant words from several languages, abandons Turkish realities and toposes (the narrative time turns out to be blurry and indefinite, and the space is half-sketchy, half-real), deprives the characters of Turkish names, giving them hybrid-quote names borrowed from the Western literary tradition. Applying the method of schizoanalysis and the accompanying" scattering " of the subject, M. Mungan reveals the hidden, tabooed in the depths of human souls, defining mass psychology and raises it to the surface, objectifying it through the phantasm of the simulacrum.

M. Mungan himself, who has repeatedly stated about the "collapse of humanism" in modern society, approaches man in his works from the standpoint of posthumanism. His view of man is characterized by merciless sobriety, non-exclusivity, and hypercriticism. It can be said that it is associated with the re-evaluation of man as an anthropological phenomenon, the rejection of any idealization of him. The writer's deconstruction of the intertext of Western culture and the creation of his own hyperreality are aimed at destroying the myth of the whole person, which prevailed in the period of antiquity and Modern times. That is why the main recipients of the writer's polemics are ancient Greek tragedies (Sophocles, Aeschylus, Euripides) and myths, the works of W. Shakespeare, J. Swift. Perhaps it was precisely in order to create a gap in the monolith of "man-god" aesthetics that M. Mungan needed powerful means, and, above all, an appeal to psychopathology, to the image of moral monsters (prostitutes, murderers), the mentally ill, transvestites, etc.

M. Mungan was born on April 21, 1955 in Istanbul. He received his primary and secondary education in Mardin, where his family came from. After graduating from the Theater Department of the Faculty of Language, History and Geography of Ankara State University, he worked for a long time as a playwright in many state theaters. In parallel with his dramatic work, he published poems, short stories, and articles about the theater in various newspapers and magazines.

Initially, it was his work in the field of drama that brought M. Mungan recognition from the public. His first play, Mahmud ve Yezida, was published in 1980, winning a prize at a competition held by the Business Bank. Then came the play

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"Condolences" (Taziye, 1982), which was staged in 1984, and in the same year M. Mungan, along with another young writer Mehmed Baydur, was named the best theater playwright of the year by the Ankara Cultural Society.

M. Mungan is characterized by an unusual creative activity. He owns 20 poetry collections, 14 books of short stories, 3 novels, countless scripts and journalistic articles about theater, cinema and literature. According to the writer, literature takes up his entire life and he does not have enough 24 hours a day.

In a recent interview published in the magazine "Radical", M. Mungan, revealing his creative tastes, said that he sees the creation of a work of art as a game. "There is no literature outside the game... games that give meaning to life. This game has its own rules, its own types. How you will play depends only on your abilities and on your intellectual level. I, for example, use the colorful metaphor of fairy tales, motifs and images of Western classics in my game to create my own style... " [Mungan, 2007, p. 6]. Indeed, M. Mungan's work is imbued with the spirit of a game that involves a transition to a different life dimension, in which the prevailing patterns of behavior in society are invalid, and life is directed according to the laws of theatrical and circus/carnival art, including its recoding. Through the game, the liberation of the individual is achieved, a view of oneself from the outside, and the socio-cultural and psychological attitudes that bind a person are loosened. The writer plays with the texts he quotes, plays with his hybrid simulacrum characters, plays with language and style, plays with the reader and even with himself. What is depicted in his works is imbued with the spirit of a clownish carnival, a fairy tale; the real is intertwined with the fantastic. Convention is not hidden, but exposed. The absurdity increases to a genuine phantasmagoria.

The game element justifies the menippeism inherent in M. Mungan's work: the combination of philosophical and parodic-ironic, literary discourses, prose and poetry, various genre and style formations, as well as the "carnivalization" of language in his works. Most importantly, it creates a conditional space in which the world opens as text. This is the space of not one, but many works that have completeness, independence, and are enclosed - each in its own cultural locus, in a plot plan that is not connected with the rest. We can say that the artistic space of M. Mungan's works is pluralistic, meaning the pluralism (equality and self-worth) of the methods and styles used by the author when creating his own texts.

In an early collection of short stories by M. Mungan, " Forty Rooms "(Kirk oda, 1987), the game begins with the name itself, which evokes associations with folklore: this is the sacred number 40 - "Ali Baba and 40 robbers, "40 days of travel", 40 girls-riders, "forty days, forty nights celebrated the wedding" and fairy-tale rooms with magic keys, which the hero enters, opening one door after another. However, the presence of 40 rooms claimed by the title turns out to be their functional and semantic absence in the text, which is a very common technique among postmodernists (for example, U. Eco, O. Pamuk), resulting from the very structure of the image-simulacrum.

In these stories, the author's postmodern play is based on quotations from ancient Greek mythology and drama, the biblical "Song of Songs", the tragedies of W. Shakespeare, J. Swift's" Gulliver", Western European and American drama of the late XIX-XX centuries (plays by G. Ibsen, W. Tennessee), novels by F. Dostoevsky, fairy tales of the brothers Grimm and Sh. Perrault, film dramaturgy (R. V. Fassbinder), mass literature. In some cases, one quote is layered on top of another according to the Centon5 principle.-

Centon-5 clothing or a blanket made of colorful scraps - a poem composed entirely of lines from other poems.

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In addition to the citation, the uncited layer is also distinguished in stories, which can be considered as an individual author's code (lyrical or philosophical digressions given in parentheses or in a different font). These different-style elements of the text, "fragments" of the previous culture, as well as individual author's code are interfaced according to the bricolage6, being parodied. The bricolage technique contributes to the creation of a schizo-absurdist, farcical-buffoonant textual reality, in which all languages are equal in the hybrid-quote polyphony, none of them carries the truth in itself separately, but only brings the parodic deconstruction of the petrified and cliched closer to it.

Many cultural codes are involved in the stories (travel code, irony/anti-irony code, parody code, author's mask code, narrator's code of character mask, as well as codes of various discourses). The travel code is end-to-end, running through almost all the stories in the collection, replacing the plot and organizing diverse heterogeneous material into a single compositional whole. "Journey" as a spiritual pilgrimage covers and guides all other types of travel stories. But at the same time, it also has a travesty character. In the story "Snow White Who Didn't have the Seven Dwarfs" 7. Snow White, having refused many princes who have wooed her, sets out on a journey to find the seven dwarfs, without whom her life is meaningless. She wanders for many years and dies without finding them, offended by the whole world. In this story, the travel code includes the motif of a funeral ceremony performed at the highest level, creating a comic effect of stampede: Snow White's funeral turns into a grandiose state performance with national mourning, with telegrams of condolences from princes who did not come for family reasons; with the arrival of seven dwarfs on her grave, who burst into tears in inconsolable grief from the with the words: "Who did you leave us for?"

M. Mungan travesties, mocks the image of the beautiful Snow White, using the oxymoronic title "old girl"when describing her. He fills the life of the fairy-tale heroine with everyday specifics and everyday reality, debunks the hope and idea of a bright future with a trivial "bad" ending. By deconstructing the fairy-tale plot, the writer seeks to undermine the automatism of standardized "mass" thinking, which prefers idols to ordinary people and fairy tales to reality.

In the story "The Ship of Stellanos Chrysopolous", the Greek girl Antigone, in the image of which the independent and proud heroine of the tragedy of Sophocles "twinkles", travels on a ship. The high image of the ancient Greek Antigone, her integral character is debunked by M. Mungan with masterly parody moves. His Antigone is a "snotty girl" who wipes her nose with paper handkerchiefs, whose past is played back using the player's "fast forward" button. She travels on a luxury ocean liner in the cheapest cabin in the hold. Antigone wants only one thing - to find on the ship "Prince Charming", who will save her from need. To do this, she goes up to the first-class deck every night, where masquerade balls are held and casts passionate glances at rich men. Here, along with the journey, the motif of carnivalization is interwoven into the narrative, which takes the form of a ball of literary heroes. Equating high and low discourses, the writer brings together Little Red Riding Hood, the gray wolf, Shakespeare's buffoon from

Bricolage 6-quote combination of the incompatible.

7 M. Mungan often uses parody quoting of the titles of the original texts in the stories of the collection.

An oxymoron is a combination of words with opposite meanings, combining incompatible ones.

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"King Lear" and Superman. At the same time, the hybrid-quote characters of the story "flicker" (split up, get upset). Antigone turns first into Cinderella, then into a poor Greek woman. Superman turns into a prince on a white horse, then a poor fisherman's son, then Little Red Riding Hood's alphonse, who herself appears to readers as a beautiful fairy-tale princess, then as an ugly old woman who lost her youth in an ivory tower (recoding the biblical discourse).

M. Mungan does not leave Antigone any hope of happiness. Superman, who has fallen in love with a girl, turns out to be a scumbag who lives at the expense of Princess Red Riding Hood. Combining high and low, elite and mass bilingualism in a parodic hybrid-quotation bilingualism, the writer decanonizes the high image of the canonized Greek heroine.

Polyvalent simulacrum characters are shown by M. Mungan in a blurred space devoid of historical frames. It mixes signs of our time and the distant past. Interestingly, the production of the play in the city, which is waiting for the arrival of the liner as a holiday, is carried out by a young playwright Shakespeare. The townspeople suspect that he - a" rascal " - deliberately arranged so that his premiere coincided with the holiday and, thus, would attract viewers to the theater.

The simulativeness of the story space is also emphasized by the fact that the liner itself was glued together from paper by a nine-year-old boy Stellanos Chrysopoulos, whose father did not return from the voyage. Later, it becomes difficult to determine whether this name is the name of the boy or the name of his father, and perhaps it is only the name of the ship, invented by the boy.

The quotative nature of the story does not allow us to forget that this is not life, but a postmodern text, the space of which is boundless. Everything in it necessarily refers to something, leads in different directions, does not allow you to establish yourself in unambiguity. And even universal cultural signs "duplicate" each other: life is a journey/journey, it is a ball/feast, it is a text/book/theater (note that at the ball, guests launch balloons consisting of letters into the air). All these series of singularities9 intersect each other, overlap each other, testify to the infinity of meanings and the multiplicity of truth, which cannot be reduced to one "common denominator".

The story "Railway Arrow" also uses the travel code. An unnamed employee of the library, whose image also evokes allusions to the romantic heroine of the play by W. W. Smith. The Tennessee Streetcar named Desire by Blanche Dubois; and the 1930s American film star Bette Davis; and the heroines of Dostoevsky's polyphonic prose; and Gulliver, who feels like a giant in front of the midgets and a midget in front of the giants, flees the city by train to escape from a mental illness that has arisen on the basis of continuous reading of the books surrounding her at work and at home. The consciousness of a woman under the influence of the disease is "split". She keeps repeating: "Who cares who I am, after our personalities have broken up" [Mungan, 1997, p. 51], "I had to break up into a thousand parts" [Mungan, p. 58], feeling like a heroine of books, then a heroine of films, then an actress,then a director, then with a code word. Her world is both real and unreal. In it, sleep, hallucinations, and life were all mixed together. The corridor of the car seems to her like a corridor with bookshelves, and life itself is a play on words.

The bookish view of the heroine's world is demonstrated by the quotations strung together in her speech, which get a parodic sound. Madness by M. Mungan stano-

Singularity 9-singularity is a term of higher mathematics that shows that several differential equations correspond to a single point or curve. In postmodernism: the correlation of one concept with a series of other concepts.

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It is a diagnosis that characterizes the state of minds that have absorbed the myths of world literature. Plunging into the reality of books, the writer transforms it into "schizoreality" and thus "emerges" from it, withdraws, gives his own version of postmodern "schizo art".

M. Mungan activates the entropic principle in a person, distorting the text of classics as a result of the use of tabooed adequacy (schizophrenia, excessive sexual desire). The heroine's love for books takes the form of insanity, a perversion of the natural course of life. Physiology takes over consciousness and the woman indulges in the vestibule of the train of love with the first comer, realizing her unsatisfied sexuality. Her mind is unable to control the destructive forces of the unconscious that rage in her soul and turn good intentions inside out.

The structural and graphic design of the text enhances the sense of chaos, the absurdization of reality that extends to all entropies: sentences arranged in columns, sometimes the absence of capital letters, endless, meaningless repetitions of the same phrase ("The train is moving forward") or the same word ("black and white"), which should cause the reader irritation and instinctive repulsion.

In this story, the travel code turns into the code of the author's mask. The narration is conducted from the third person, without any visible border passing into the narration from the first person, in which the same phrase is repeated periodically - "I feel bad, doctor", accompanied, as in the play, by the author's remarks in parentheses like (But not so much, do not exaggerate!), (Do not lie!) The author seems to play along with his heroine, from time to time uses the mask of a "simpleton-outsider", for whom what is happening in the text is the same news as for others and whose psychology, in fact, is not too different from the psychology of the heroine. The author's remarks seem to comment on the unfolding events, the heroine's statements, and introduce the effect of detachment. But even in them there is a hidden irony that seems to take everything for granted and approve, but in fact - ridicule the person.

Hedda Gabler, the heroine of the story "A Woman named Hedda Gabler" 10, is also on an endless journey through an illusory, simulated city in which the features of Istanbul, Ankara and London "twinkle", in the image of which M. Mungan travestically plays Ibsen's proud Hedda, alien to philistine psychology. Parodically quoting the play by K. Ibsen, the Turkish writer forces his heroine, suffering from an unhappy love, to look for someone in the city who could kill her with a pistol of General Gabler. At the entrance to the British Museum, Hedda meets Shakespeare's Hamlet, to which she makes a request. Using the bricolage technique, M. Mungan gives his Hamlet (or rather, Hamlets, since this image is tripled and disintegrated here) Turkish surnames: Tuluzchayirli, Hichbiryermi, Kavaklydere. The combination of a quote name with a Turkish surname creates a comic effect, which is further enhanced by the character's speech. Shakespearean quotations in the dialogues and monologues of the Turkish Hamlet are distorted, retold approximately, diluted with extraneous inserts, which breaks the rhythm of the classical text. Dialect words, colloquialisms, and phrases of the modern colloquial language are often used: "Stop fooling me every morning, Hedda! Get off me!.. I, a representative of the petty bourgeoisie, could not even kill my own uncle in my time. How am I going to kill you...?" That's the question! Gabler, please don't simplify your life of association alone" [Mungan, 1997, p.104].

10 This story was awarded the Khaldun Taner Prize in 1987 , one of the most prestigious in the field of national short stories.

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In the story there is an image-a quote borrowed from ancient Greek mythology. In one of the restaurants Hedda constantly meets the antique dealer Uncle Apollo. He suffers from the fact that his entire family has moved to Athens, and he himself can not leave the Turkish city in which he spent his life. Travestering, mocking, debunking the cult of the god Apollo, M. Mungan makes him a vodka addict, a tearful, constantly grumbling old man. It is in front of the old Greek's eyes that Hedda Gabler, unable to find her own killer, kills one of the restaurant employees, turning from a potential victim of a crime into a real one (as real as anything can be in a postmodern text), a violent criminal who definitely wants to see the eyes of his victim. M. Mungan manages to accurately convey the "sliding" nature of the simulacrum, which in the rhizomatic space of the text easily turns into its opposite (victim-killer), while revealing in the nature of the simulacrum the dominant dark, aggressive forces of the collective unconscious: love turns into murder.

In this story, too, the writer connects the unconnected, brings together those who-in the majority's opinion-do not fit into the same row by any parameters. They can be combined only in the reality of the text and as "texts". The characters of the story are not people, but images of literary and mythological heroes that exist as stable stereotypes of mass consciousness. Their images are twofold, threefold, flickering, there is no "completeness"in them. Destroying the mythologized idea of man, M. Mungan demonstrates that man interests him most of all as a source of evil that overwhelms the world. Therefore, being in this writer turns into"non-being".

Destroying the traditional connectedness of the narrative, M. Mungan in this story actively uses the technique of redundancy, i.e. overloading the text with unnecessary information, shifting the emphasis to a fragment, detail, creating the effect of information noise, which makes it difficult to fully perceive the narrative: "He came to bring a gladiolus or, as usual, a box of sweets to the last woman who was always she talked about old mansions filled with opalescent and silver cutlery... that had become nylon... and diamonds... turned nylon... and with their hearts... about villas that had been burned down, palaces that had been made of nylon, phaetons, German lace, servants, tutors, the status of women; and who lived only by talking about it, and who could not live without all this, and who, trying to live, became nylon, and who every day she wound up all the clocks (on legs - without legs, table clocks - not table clocks, wall clocks - not wall clocks), which deafened the whole house with their ringing, and so, when she did not speak, she assured herself that she lived only by the ticking of the clock, and that for some reason every night she prepared so much food for herself that she did not know what to do. how much she couldn't eat, and who, of course, without eating everything, threw it away in the trash, which became nylon-and who, while preserving the old tradition, the old cuisine, kept herself-which became nylon - and who hadn't gone out for so long, couldn't go out, and who had forgotten the street, the city, the country, the history, the shelves with neatly arranged books that stood spine to spine under a thick layer of dust, and which fell more and more into oblivion and finally became forgetful, and which stood in the doorway ... " [Mungan, 1997, p. 86-87].

M. Mungan-trickster author, playing with the author's mask, confuses the reader. The story is narrated in the first person, making the naive reader think that Hedda is giving evidence to a police commissioner who is "mutating" into a judge. Then, without any visible boundary, it turns into a third-person narrative, accompanied by caustic remarks about the heroine.

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In the story "Sleeping Beauty with 100 years of sleep", in which the Prince's journey on a white horse to the Sleeping Beauty turns into the collapse of the young man's hopes and disappointment in the object of his love, the code of the travestied author-character is replaced by the code of the hero-narrator, endowed with the function of narrator. Especially important in this respect for M. Mungan, as he admits, is the experience of the polyphonic prose of Dostoevsky and Oguz Atai (1934-1979) [Mungan, 2006, P. 3]. M. Mungan does not stylize the manner of oral speech sustained in the spirit of the language and character of the person on whose behalf the story is being narrated (Sleeping Beauty- Ayishyy, whose name is hybrid-quotable), and certain discourses (biblical, philosophical, fairy-tale), exposing them to deconstruction, resorting to pastiche. As a result, a simulacrum character appears, endowed with a hybrid-quotation language-a polyvalent, "twinkling"figure.

Behind the character mask of the Sleeping Beauty-simulacrum hides the writer's close attention to the physiological sphere. Reducing the biblical discourse, Sleeping Beauty compares her awakening to the creation of the world and man; speaks with excessive naturalism about Adam's sexual predilections, calling him "castrated Adam"; explains the plot of Adam's expulsion from paradise with Freud's theory of the unconscious. At the same time, she constantly repeats that she herself is a feminist, passionate about sensual pleasures.

M. Mungan pedals the situation, mocks, distorts and brings to the point of absurdity the code of the narrator, as the Sleeping Beauty speaks without stopping even in her sleep. Her life turns into words, from which she "weaves a forest". It speaks even after death. From the grave comes her muttering, which the Prince constantly hears.

Along with the use of a character mask, M. Mungan in this story refers to an objectified, absolutely impersonal type of writing, which only imitates the code of the author's narrative, but in fact demonstrates the phenomenon of"author's death". This narrative layer differs from the storytelling discourse and the narrator's discourse in a different font. In it, the writer levels out and reduces the "zone" of biblical and mythological men (Adam has a" child - bearing organ "- a rib, Zeus has a uterus attached to his leg, Prometheus notices a "longing for childbirth" after being tortured by eagles), playing with their gender, endowing them with feminine qualities, up to the ability to give birth. The ambiguity and ambiguity of the great men / women brings their share of absurdity and comedy to the narrative. Such a position can be considered as a parody of "male chauvinism" - an integral feature of any type of totality and a preference for it for a different, "female" type of mind and, accordingly, culture, in which the principle of "pleasure" prevails over the principle of "reality". (Note that all the main characters of the stories in the collection "Forty Rooms" are women.)

Postmodern aesthetics itself is generally considered "feminine" as opposed to "masculine" - modernist aesthetics. Postmodern theorists (Derrida, Baudrillard, etc.) insist on the superiority of "feminine" aesthetics over "masculine"ones. The male / female opposition itself (like all binary oppositions) is removed, blurred, and interpreted in terms of the game. J. Baudrillard writes in his book On Seduction (1979) that "a universe in which the feminine principle is not opposed to the masculine, but seduces it. Being in the element of temptation, femininity does not act as a marked or unmarked term of opposition" (Baudrillard, 1994, p.61). The immanent game of temptation, according to J. Baudrillard: to reject everything and everything, to deviate from the truth and return to the game, the pure game of appearances, and instantly replay and overthrow all systems of meaning and power, to make appearances revolve around themselves, to play the body as an appearance. Only a temptation, according to Zh. Baudrillard, destroys the polar sexualization of bodies and the phallic-oriented system of sexuality. With-

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blazn is able to reverse all the signs of power. "There is nothing active or passive in seduction, there is no subject or object, there is no external or internal: it plays on both sides of the board at once, despite the fact that there is no boundary separating them" [Baudrillard, p.64]. We seduce, the philosopher emphasizes, only by our weakness and never by strength; it is femininity as an appearance that defeats the deep masculinity. Further Zh. Baudrillard remarks: "And this statement about femininity, which says that even the distinction between authentic and artificial is groundless in relation to it, strangely coincides with the statement that defines the space of simulation: here, too, it is impossible to distinguish between the real and the models, all reality is only the secretion of simulation models, and there is no other femininity than the femininity of appearances. Simulation is also unsolvable.

This strange coincidence points to the ambiguity of femininity, which is both a radical statement of simulation and the only way to go beyond simulation into the realm of seduction" (Baudrillard, 1994, p.63).

In his short story "Beauty Sleeping for 100 Years", M. Mungan rejects and ridicules phallocratism as a metaphor for a totalitarian-authoritarian type of culture, type of thinking and consciousness. The masculine and feminine elements lose their rigid oppositional character and become transgressive.

The last two stories in the collection "Forty Rooms" - "Tears of Love, or Rapunzel and the Scamp", "Veronica Foss of Longing" - can also be interpreted from the same positions. Beautiful Rapunzel-the heroine of a fairy tale by the brothers Grimm, M. Mungan turns out to be a transvestite guy named Umit 11, who underwent sex change surgery to preserve the love of his young man and became a prostitute in a night bar after breaking up with his beloved. Veronika Foss, the heroine of the famous German film directed by R. V. Fassbinder "The Longing of Veronika Foss", also turns out to be a transvestite prostitute, who in the morning, after a stormy night, begins to grow a mustache and beard.

The absurdization of the image of Veronica Foss is emphasized by the " hysteria "of the story style: endless repetitions, the absence of punctuation marks and capital letters, an unusual graphic breakdown of the text, the reception of registry / cataloging, etc. A woman who has passed through the circles of fate. A woman who destroys. A woman who will be adored. An immortal woman. Female spider. Scheherazade. The masked woman. The woman who kills. A woman playing hooker. A woman who plays hooker but actually has a noble heart. A woman who feels ashamed because she likes prostitution, pretends to play hooker, and eventually turns into a hooker...

Silk fabrics, cashmere, tweed, gabardine, jersey, sateen, satin,

scents, silver, glitter

I'm not me

I'm just imagining things

the imagination that is given

the imagination that is suggested

the imagination that is girded

an imagination that is surrounded by

I'm not me

I'm just a syndrome

I am the singing woman's syndrome... " [Mungan, 1997, S. 151-152].

11 In Turkish, the name Umit is used both as a masculine and feminine form. It means "Hope."

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In the stories of M. Mungan, the established ethical norms are overturned through the exposure of hidden, tabooed zones of consciousness, through shocking, through shock (laughing so that the body shivers). In his stories, everything is destroyed (words, thoughts, feelings), and this happens at the level of the subconscious. Leading to the subconscious and, thus, denying the absurdity of reality, M. Mungan's prose also carries its own cultural potential, treats with shock therapy.

Murder, prostitution, transsexualism in M. Mungan become a means of exclusion and absurdization, make it possible to identify destructive forces in the collective unconscious, show the degree of degradation of a society in which the ethics of evil has been established. In the writer's stories, the romantic view of a person turns out to be a corrected "psychopathic" one. But the pathology itself is more clearly revealed against the background of the ideal. This duality of the ideal / pathological, which reveals the relativity of truth, is extremely important for understanding the author's position of M. Mungan. If a writer were simply trying to prove that man is a monster, he would do without the ideal plan, without quoting the classics. But the point is that M. Mungan is repelled by any one - sidedness-both "man-godly" and "man-devil". The writer's stories contribute to the development of a multi-valued view of the person, taking into account the discoveries of post-structuralism.

Since the 1990s, postmodernism in Turkey has been asserting its alternative aesthetics and the right to be mainstream, i.e. the defining direction of literature, and since the 2000s-and culture in general (theater, cinema, painting), forming a postmodern paradigm. It brings with it the idea of emancipation and a new language; it calls for "washing" all worn-out words; to bathe in culture; to absorb all the discoveries made over the centuries of its existence on all continents, rejecting the ideological approach and turning to the aesthetic, in order to find a new thinking-on the scale of the entire human civilization - and the pluralism inherent in it. Turkish postmodernists, following their Western "colleagues", are trying to instill in society that it is not necessary to lock in the national space, since this is fraught with provincialism.

At the same time, speaking about the lessons of Turkish postmodernism, we should agree with those Turkish critics who note the destructive beginning of postmodern aesthetic permissiveness in relation to spiritual values and language, shock naturalism in the depiction of the human body and the terrible, dark sides of life [Ecevit, 2004; Esen, 2006; Oktay, 2003; Onal,2003]. 2005]. Intolerance towards other literary systems and writers, the claim of postmodernism to be the leading style of the era, a simplistic playful, dismissive attitude towards national history and the fate of its own people causes Turkish critics to have a negative-indifferent attitude towards the work of postmodernists. It is significant that no sooner did Turkish literary postmodernism appear, than criticism began to bury this new phenomenon, forming its frightening image in the public consciousness.

Indeed, Turkish postmodernists do not put forward strategies for overcoming the cultural and ideological crisis; they do not offer ideas that can center the picture of the world, "assemble a person", in contrast to the European postmodernists of the 1990s-2000s (F. Tristan, J. Levy, F. Kupri, K. Ransmayr, M. Kelmayr, J. Hazlinger, V. Pelevin, D. Galkovsky, etc.), in which the strict theoretical provisions of postmodernism are strongly blurred and modified, centering ideas acquire a national connotation, i.e. postmodernism goes beyond its original limits, which generally allows us to speak of it as post-postmodernism. At a time when national cultures at the turn of the XX-XXI centuries. The majority of Turkish postmodernists, whose creativity is still characterized by denationalization, are resisting the processes of globalization, trying to oppose their national origin to them.

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Turkish literature of the late 20th and early 21st centuries has clearly learned the positive lessons of postmodernism. Turkish postmodernists have overcome the eternal opposition of elite and mass literature. In the content, plots, and language of their works, the high beginning is actively associated with the beginning of gaming and entertainment. When creating the text, they focused their attention not on ideology, but on poetics, artistry of style and language; they pushed modern literature and criticism to reconsider outdated canons regarding the writer and reality, the writer and the authorities, the writer and the people, and to find new criteria for evaluating artistic texts. Thanks to the postmodernists, the interest of the Turkish reader in world literature and its processes has significantly increased. The works of Turkish postmodernists are translated into foreign languages (M. Mungan, P. Kur, O. Pamuk). Some postmodern authors have been awarded prestigious foreign and national prizes (O. Pamuk received the Nobel Prize in 2006). Certain features of postmodern poetics are organically included in Turkish realistic prose-intertextuality, quotability, and the strengthening of the game principle, which give the works of realist writers a certain philological meaning. It should be noted that the strengthening of the game principle in the plots and poetics of modern literature is associated not only with the influence of postmodernism, but also with the general "computerization" of life and culture, with the mutual influence of cinema, television and literature.

Turkish postmodernism is one of the natural aesthetic trends of modern literature, evidence of its evolution and constant updating.

list of literature

Бодрийяр Ж. Fragments from the book "On temptation" / / Foreign Literature. 1994. N 1.

The newest philosophical dictionary. Postmodernism. Minsk: Sovremennyi literator Publ., 2007.

Repenkova M. M. In the labyrinth of postmodern consciousness. About Orhan Pamuk's novel "Snow" / / Vestnik Moskovskogo universiteta. Episode 13. Oriental studies. 2007. N 3.

Skoropanova I. S. Russkaya postmodernistskaya literatura [Russian Postmodern Literature]. Moscow: Flinta-Nauka, 2002.

Uturgauri S. N. Turkish prose of the 60s-70s. The main trends of development. M.: Nauka, 1982.

Uturgauri S. N. Modern Turkish prose. Main development trends. Diss. ... Doctor of Philology, Moscow, 1985.

Ecevit Y. Orhan Pamuku okumak. Istanbul: Iletisim, 2004.

Esen N. Modern Turk Edebiyat uzerine okumalar. Istanbul: Iletisim, 2006.

Mungan M. Kirk oda. Istanbul: Metis yayinlan, 1997.

Mungan M. Riiya goriir gibi sarkt goruyorum // Milliyet Pazar. 19.03.2006.

Mungan M. Edebiyat insani erken buyutur: Radikal Kitap Eki. 19.08.2007.

Oktay A. Romanimua ne oldu? Istanbul: Yapt kredi yaytnevi, 2003.

Onal M. En uzun asinn hikayesi. Yeni Turk edebiyat?nda teoretik bir yaklagvn. Ankara: Bilgi yaytnevi, 2005.

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