The end of the 20th century in Azerbaijani prose can be associated with the further development of the creativity of the "sixties", who once successfully took advantage of the "Khrushchev thaw". However, already at the beginning of the XXI century, a galaxy of young writers appeared in Azerbaijani literature, who chose postmodernism as the basis of their work.

A characteristic feature of the work of young Azerbaijani postmodernists (who followed the example of their "older" foreign predecessors) is games with a genre form. Considering the problem of genre construction in modern postmodern literature, I. S. Skoropanova notes: "Often postmodern authors give their works subheadings that are precisely genre designations. These are novel-commentary, novel-clip, novel-essay, novel-journey, synopsis of an unwritten novel, double novel, reconstruction of a novel, novel-play" [Skoropanova, 2002, p. 157]. G. M. Rebel rightly notes in his research work that "these definitions are intended to" stake out " the personal, a unique (aspiring) genre space" [Rebel, 2007, p. 8]. Most of these definitions do not carry any informative value in terms of genre affiliation, and in some cases even contradict the established system of genres.

At the same time, we should not forget that the creative work of postmodern writers is dominated by the tendency to "overcome" genre canons. Ignoring traditional genre constructions fits into the framework of postmodern perception: "Postmodernism simultaneously uses and rejects, establishes and then destroys those concepts that it questions, whether in architecture, literature, cinema, philosophy, linguistics or historiography" [Hutcheon, 1992, p. 3]. The practical implementation of" ignoring "takes the form of genre confusion: postmodern authors tend to use the term "ignoring" as a whole. intra-and inter-natal mixing.

We are faced with the interspersion of elements of other epic genres of prose in the postmodern novel, firstly, and, secondly, elements of other kinds. Interspersing elements of documentary (non-fiction) prose in the novel can also be attributed to inter-generic genre mixing.

Intrageneric genre mixing in modern postmodern Azerbaijani novelistics leads to such genre constructions as a mythological novel, a dystopian novel, a parable novel, a novel consisting of fragments of small genre forms, etc.

The mythological novel in modern Azerbaijani literature is represented as both a myth novel and an anti-myth novel. An interesting example of a novel-myth is Sabir Rustamkhanh's "Heavenly Tengri" (Goy Tann, 2005), the plot of which takes us back to the reign of the Turkic khagans, the heyday of Tengrianism as a religion of monotheism. However, this work is not a classic historical novel. S. Rustamkhanli, using ancient Turkic mythology and written sources (including the Orkhon-Yenisei stelae), seeks answers to the questions facing the modern Turkic world in the mythical past. "Heavenly Tengri" is a work about contemporary problems of Turkic-speaking nations, but reflected in the neo-mythological artistic space.

The anti-myth novel is an independent genre construct that is "genetically" related to the "classical" myth novel, but is opposite in semantics to it [Polushkin, 2009, p. 14]. The following features are characteristic of the anti-myth novel: textualization of the myth, intertextual dialogue between the novel and mythological text, destruction

traditional semantics while maintaining the form. "The anti-myth novel is characterized by free manipulation of myth as a text, its de-heroization, demonstration of reception, intertextual play, and most importantly-the destruction of mythological semantics while preserving the mythopoetic form" [ibid.].

The features of an anti-myth novel can be seen in the work of Kamal Abdulla " Unfinished (incomplete) Manuscript "("Yanmciq alyazma", 2004). According to popular opinion among experts, this work is a historical novel. However, this assessment raises doubts among another group of scientists. Their main complaint to the author is that he ignores the principle of historicism in the author's interpretation of historical events [Cahangir, 2005, p. 251]. The situation around the content and genre essence of this work takes on the character of intrigue, since Kamal Abdullah is one of the main researchers of the dastan "The Book of my Grandfather Korkud", the author of many books and articles devoted to this epic.

I note that Kamal Abdullah manipulates the text of the dastan "The Book of my grandfather Korkud", discredits the mythological hero (for example, if in the myth Grandfather Korkud is the archetype of the "sage", then in the" Unfinished Manuscript "- the faithful servant of Bayandir Khan), destroys the basis of the mythological perception of the world (turning the stone " Nur " ("Saint") in the divine beginning of Tengri), sarcastically reworks plots from epics, mixing them with the author's sarcastic interpretation of historical events (the flight of Shah Ismail Khatai and his death by a ridiculous combination of circumstances), etc. It is no accident that researcher Niyazi Mehdi described the " Incomplete Manuscript "as an intellectual and artistic" bluff " [Niyazi Mehdi]. However, such a critical attitude to this work is incorrect. The novel is distinguished by the author's innovative design. Do not forget that the creation of works in line with the anti-myth requires the author to have deeper knowledge in the field of cultural studies, mythology, history and psychology than the creation of a myth novel. "Incomplete manuscript" is one of the rare examples of an anti-myth novel created by the Azerbaijani national literature.

The genre form of the anti-myth novel can be attributed to the work of Karamst Boyiikcol "Field" ("Col", 2010), which contains a deconstruction of the folk dastan about Korogly. The main character of the novel, like the hero of Dastan, is called the author of Korogly, but if in Dastan it is a symbol of a fighter for justice and higher ideals, then in the novel it is a greedy merchant and a mercenary who is ready to fight only if there is material gain. The content of the novel is actually opposed to Dastan.

The attraction of postmodernists to the mythological or symbolic method against the background of creating a closed integral world naturally leads to the fact that in the postmodern novel there is a great interest in dystopia.

In the dystopian novel "Amnesia" ("Amneziya", 2010), Ali Akber constructs a totalitarian society in which the main character Murad is forced to live. But amnesia in the novel is not only the hero's loss of memory about his past, but also the loss of memory by society about universal values. It is noteworthy that the author does not refer us to the remote spatial and temporal characteristics of the artistic world. The artistic space corresponds to the territory of the Caucasus, and the artistic time covers 2010-2011. At the same time, the disclosure of all the negative aspects of the supposedly ideal society can be traced throughout the novel. Ali Akber criticizes attempts to create an ideal society and an ideal state, revealing the futility of such initiatives.

Anar's work "White Aries, Black Aries" ("Ag qoc, qara qoc", 2004) can be called dystopian. The peculiarity of philosophical discourse in this dystopia is a sarcastic juxtaposition of three "ideal" societies, which are constructed on the basis of three ideologies - traditionally Islamic, communist and bourgeois. The subtext of the artistic juxtaposition of these socio-state constructions is pessimism in building a utopian society, the senselessness of striving for a super-idealized structure. Highlighting the shortcomings of the "ideal" forms of social structure, Anar reveals the extra-historical nature of universal values, the significance of the irrational principle in man.

In a postmodern novel, genre confusion is associated with the hyperbolization of parody, or rather with ironic parody. Irony in postmodernism takes on a dominant meaning and provides for a parodic comparison of different more artistic styles and genres. Hence the tendency of postmodern writers to create parable novels.

The authors ' appeal to parable genre constructions, including the format of the novel-parable, is due to the opportunities that become available to the author [Kecherukova, 2009, pp. 9-10]. First of all, this is an appeal to the problem of being and universal values - the struggle of good with evil, etc. For example, in the novel "The Valley of Magicians" ("Sehrbazlar deresi", 2006) by Kamal Abdullah, the author's idea is subordinated to the Sufi philosophical tradition. The author raises the problem of the futility of earthly passions, the imperfection of man and society as a whole. The problems of the novel have a "universal" and timeless subtext, which allows us to speak of it as a parable novel, even though the author refers to his work as a "fantasy novel".

Unlike the parable itself, the narrative in the novel-parable becomes overgrown with many details, becomes expanded and expressive. At the same time, the "residual" influence of the brevity of the parable is manifested in the spatiotemporal features of the artistic world of the novel-parable: the artistic space is compressed, and the chronotope is characterized by increased conventionality. Since the parable is characterized by a timeless, conventionally schematic space, the characters of" Valley of Magicians " can control time and space.

The postmodern worldview presupposes fragmentary existence: the world appears in chaotic and disordered elements. Hence the experiments of postmodernists on the formation of large prose works (for example, a cyclical novel) using constructions of small forms that connect parts according to the principle of parallelism (less often - sequence). When constructed in parallel, several short stories (novellas, short stories) are narrated simultaneously. According to B. V. Tomashevsky, parallel construction implies a multi-dimensional narrative: "The narrative is conducted in a multi-plan way: it is reported about what is happening in one plan, then what is happening in another plan, etc. The characters of one plan move to another plan, there is a constant exchange of characters and motives between the narrative plans. This exchange serves as a motivation for transitions in the narrative from one plane to another" [Tomashevsky, 1999, p. 163].

The principle of parallel construction is used in the novel "Open, this is me" by a young writer Nermin Kamal (Ac, menem, 2010). Compositionally, it is constructed in such a way that each part of it can be attributed to the story, but collectively all parts of the work are connected by a single idea and the author's plan. This arrangement was made possible by the fact that the main character of the novel, abandoning his name, begins to live under other names, while living different lives.

At the same time, a postmodern novel can also use a consistent construction principle. As an example from modern Azerbaijani literature, we can cite Hamid Herisci's novel "Obituary" ("Nekroloq", 2005), in which the author tries to replace the artistic aesthetics of creativity with anti-aesthetic "destruction". Some literary critics do not perceive this work as a novel in its classical sense. For example, in his review article on contemporary Azerbaijani novels, Tehran Alisanoglu notes the" reduced " dialogism, fragmentary and episodic plot, and simplified disclosure of the images of this work. Calling into question the novelistic identity of the Obituary, T. Alishanogly does not indicate its genre nature, however, in my opinion, the novelistic content is quite clearly manifested in it. T. Alishanoglu's subjective position is connected with the fact that he records the writer's refusal to give up some features of the novel narration, although he does not give an assessment of this. "Obituary" is influenced by the story, and it is not by chance that the novel was originally published in parts in the media.

Intergenerational genre mixing in modern postmodern Azerbaijani novelistics leads to such genre constructions as metaroman, lyrical novel, novel-play, creolized novel, etc.

Ihab Hassan, investigating the peculiarity of postmodernism, noted that hybridization, which takes place under the influence of non-genre trends, can give rise to unclear forms: "paraliterature", "paracritics", "non-fiction novel" (quoted from: [Kerimov, 1996, p. 381-382]). One of the most interesting types of postmodern novel is the metaroman. Its main feature is a two-dimensional artistic structure, "where the subject for the reader becomes not only the "novel of heroes", but also the world of literary creativity, the process of creating this"novel of heroes". In other words, the metaroman not only tells about the vicissitudes of the characters 'fate and the conditional reality of their existence, but also aims at the very event of storytelling" (Zuseva, 2006).

In 2009, Taleh Sahsuvarli's novel "Revival" (Canlanma, 2009) was published. The author presents his work as a metaroman, even as a historical metaroman.

Postmodernism rejects uniformitarianism and strives for deconstruction, denies normativism, tries to combine elements of "high" and " low " genres, wanting to combine elitism and mass character. The desire of postmodernism to overcome the elitism of modernism provokes an increased interest of authors in mixing "low" and "high" genres. A well-known American critic, Ihab Hassan, enumerates the characteristics of postmodernism and names this technique among other features (Hassan, 1987, pp. 445-446). One of the manifestations of this type of mixing is the postmodern lyric novel.

Such a novel is Nuran Letifa's work " The Color of Love "("Esqin rengi", 2008). The author tries to show the world through the mystical and at the same time alluring phenomenon of "divine love". Lyricism is also evident in the author's increased attention to revealing the inner emotional state of the characters.

The postmodern novel tends to hyperbolize the author's game. The result of this author's postmodern game is an emphatic and demonstrative imitation in the work of discourses that touch on the most problematic aspects of being. In postmodern literature, the game becomes an instrument of the writer's presence in the work. The game of writing revolves around forms, conventions, symbols, etc. At the same time, the author plays with both the text and the reader. The game attitude to the word is used to find the "hidden" meaning. The author's game in a postmodern work is a consequence of the understanding of chaos as insurmountable. The game serves as a tool for overcoming chaos. As a compositional feature, this game is implemented in the novel-play.

In modern Azerbaijani literature, the features of the novel-play can be found in Ilqar Fehmi's work "Aquarium" ("Akvarium", 2006), better known as a theatrical novel. The storyline of the novel is built around the fate of a man who, by the age of forty, achieves the fulfillment of all his desires, but is unable to overcome the imprisonment in the "aquarium", which is correlated here with a certain spatial and spiritual limiter, and the main character-with a dumb fish. The limited artistic space brings the work closer to the play. In addition, the author draws a possible invariance of the storyline: on the one hand, the realized path of a successful person who refused freedom and independence; on the other, an unrealized fate based on the values of freedom and goodness, harmony and beauty. It is noteworthy that the author uses the word "aquarium" three times: as the name of a restaurant, a theater, and a play written by one of the characters, a Sahib, who is also the director of the theater. Fahmy builds a vicious circle - the Sahib's play " Aquarium "is staged on the stage of the Aquarium Theater, thereby emphasizing the drama of the hero's futile efforts to get out of the aquarium: all the spiritual and creative energy of the Sahib is absorbed by the Aquarium theater. The writer raises the problem of the need to transform the entire system in order to ensure individual happiness and universal values. However, the third level of the "aquarium" (the title of the novel itself) frames the first two (the names of the Sahib's work and the theater), in fact, involves the author himself in the trap of the "aquarium". The "aquarium" framing, on the one hand, indicates the nihilistic attitude of the writer to the problem posed, although on the other hand, it creates different levels of invariance of the storyline.

Postmodern literature also experiments with nonverbal forms of information transmission. Postmodern writers respond to public demand by creating large-scale prose works intended for audio and film reproduction, as well as for distribution on the Internet. Accordingly, you can conditionally distinguish between an audio novel, a movie novel, and a hypertext novel. These types of novels are works of fiction with creolized text, i.e., with text whose texture consists of two heterogeneous parts: verbal (linguistic/speech) and nonverbal (belonging to other sign systems than natural language).

The first Azerbaijani novel to be released on an audio disc is "The Way" ("Yol", 2009) by Elxan Xanelizade. The story is narrated on behalf of the elder Ibragim Imanov, who tells about his fate. The storyline is based on the "path motif". In the fate of the main character, the fate of a generation is concentrated: the epic beginning is transformed into a kind of long monologue of the main character. The novel is accompanied by music (composers Govhar Hasanzadeh and Ulvia Veliyeva), which emphasizes the inner state of the main character, creating an emotional background for key events in the plot of the novel. In the novel

there are also vocal inserts that not only characterize the rapprochement of the novel with vocal and musical genres, but also reflect the enhanced lyrical beginning in the novel.

Hafiz Mirza's novel "The End and the Beginning"is unique ("Son vs baslangic", 2010). Initially, it was published in parts in the periodical press, then published as a separate book, which is accompanied by a CD-ROM with musical excerpts. According to the author, for the reader's perception of the author's work in its entirety, musical accompaniment is necessary.

There are several examples of film romance in Azerbaijani novelistics. A special feature of the Azerbaijani film romance is its historical and epic coloring: - there is a mixture with the genres of historical and documentary literature; - the image of the people acts as a collective image, thereby bringing the Azerbaijani film romance closer to the epic novel.

In 2005, Kamran Qasimov's film novel "Twenty-three Months" ("Iyirmi uc ay", 2005) was published, the plot of which is built around the history of the Azerbaijan Democratic Republic, which lasted 23 months. Kinoroman is distinguished by its historicism and documentarianism. It is not by chance that the author gives an explanation to the title of the work - "art-documentary, historical film romance". This explanation covers the entire spectrum of genre confusion that is characteristic of this work. The event basis of the novel follows the chronology of historical events. It is noteworthy that against the background of artistic images, the prototypes of which are political and state figures of that era, the image of the people as the builder of the state appears as a separate image.

In 2008, Nuraddin Adiloglu published the novel "Black Ivy" ("Qara sarmasiq", 2008), which tells about the fighting in the "hot spot", about the political processes in Baku in the turbulent 1990s. The author follows the chronology of the unfolding political process, creates an image of the people suffering and struggling in the cauldron of political intrigues.

The problem of the struggle of the people is also reflected in the work of Akif Ali "Misty Mountains" ("umanh daglar", 2008). The author defines its genre form as kinopritcha. In my opinion, this work clearly shows the features of the film romance. At the same time, the novelistic nature of the Misty Mountains is influenced by the parable genre, but this influence is relatively weak. Inter-generational genre mixing has a more significant impact on genre characteristics, while the impact of intra-generational mixing is not so large-scale.

In conclusion, I would like to note that Azerbaijani postmodern novelistics bears the main burden of genre "renewal" of the national novelistics. The main characteristic genre feature of the created works is increased syncretism (hyperbolization of genre mixing).

list of literature

Zuseva V. B. "The Counterfeiters" by A. Zhid: the novel of the author and the novel of the hero. http://ifi.rsuh.ru/vestnik_2006_1_15.html

Kerimov T. H. Poststructuralism // Modern Philosophical dictionary. Moscow-Bishkek-Yekaterinburg: Odyssey Publ., 1996.

Kecherukova M. A. Genre specifics and problematics of William Golding's Novel-Parables of the 1950s-1960s. Author's abstract. cand. dis. SPb., 2009.

Mehdi N. Experience of removing substantial "heaviness" from the irremediable confrontation between "friends" and"strangers". Azerbaijan Project of Simulative Nationalism and simulative Religiosity http://www.southcaucasus.com/index.php?page=publications&id=2341

Polushkin A. S. Genre of the Anti-myth novel in the Swedish literature of the 1940s-1960s (based on the works of P. Lagerquist and E. Junson). Abstract of the candidate's thesis. Yekaterinburg, 2009.

Rebel G. M. Heroes and genre forms of Turgenev and Dostoevsky's novels (Typological phenomena of Russian literature of the XIX century). Abstract of the candidate's thesis. Izhevsk, 2007.

Skoropanova I. S. Russian postmodern literature: New philosophy, new language. St. Petersburg: Nevsky Prostor Publ., 2002.

Tomashevsky B. V. Teoriya literatury [Theory of Literature]. Poetika, Moscow: Aspect Press, 1999.

Cahangir E. Damirbaslar (Ironheads) / / "Korpu" jurnali. 2005. N1.

Elisanoglu T. Yeni edebi nasil: axtanslar, problemer (New literary generation: searches, problems) / / http://bizimasr.media-az.eom/arxiv_2002/may/113/tengid_romani.html

Hassan Ihab. Making Sense: the Triumph of Postmodern Discourse // New Literary History. 1987. Vol. 18. N2.

Hutcheon L. A Poetics of Postmodernism. History, Theory, Fiction. New York-London: Routledge, 1992.

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