The article concerns the forms and functions of the implied author and the implied reader in the novels by Lesage, Prevost, Marivaux, Crébillon, Bibiena, Diderot, Defoe, Fielding and Stern. Referring to the narrative on behalf of the hero, which is mainly used in the Rococo novel, as well as the narrative from the author in Fielding's novels equally, although in different ways, complicate the identification of the implied author, whose image is displaced by the explicit narrator. At the same time, there is a process of making the relations with readers intimate, both in the «Appeals to the reader» and in the novels themselves in various forms of appeal to explicit readers – to the community of friends, to a friend, etc. In the Rococo novelistic prose, an «uncertain narrative» is formed, consisting of a chain of stories within one story and a variety of narrators, which reveals the ambiguity of the implied author's statements and descriptions, as well as the breadth and indefiniteness of the reading public that the novelist actually addresses.

The article analyzes the transformation ofcreativity in romanticism of the late 1820 s - 1830 s ideas, the interaction of romantics with newspapers and magazines in the second half of the 1830 s - 1840 s. and the appearance of the feuilleton novel as a genre of popular fiction. The success of F. Soulier, E. Sue, A. Dumas, and other authors works, published in periodicals, contributed to the emergence of ethical and aesthetic disputes about the feuilleton novelas a genre. Following Ch. Sainte-Beuve, who spoke out against "industrial literature", French intellectual elite attacked feuilleton novels, claiming the authors for damaging artistic taste and immorality. Meanwhile, the fields of "high" and "folk" romanticism constantly intersected, and in the course of dispute about feuilleton novels, the poetics of elite prose not only influenced popular fiction, but also voluntarily or involuntarily used its experience. In the process of this repulsion / attraction, the main types of popular literature were born, namely: detective story, love story, fantastic prose, etc.

The article examines the originality of Moliere’s comedy tradition transformation in the plays of Marivaux. Being the great comedy reformer Moliere created classic examples of the genre and had a huge impact on the world theater. At the same time, this does not mean that subsequent comedians are completely dependent on Moliere’s manner. Marivaux, although he relies on Moliere’s experience, uses Moliere’s techniques of commedia dell’arte, however, is achieving a different artistic result, a different tone, and uses a different type of comic. This is especially clear when comparing two comedies belonging to the “school” genre - “School of Wives” by Moliere and “School of Mothers” by Marivaux. Moliere, incorporating elements of farce into the “high comedy”, enhances the laughter tone, in essence, the first to associate the comedy genre with laughter. The playwright of the 18th century, condensing various kinds of intrigues in the plot of a one-act comedy, driving an easily resolved ironic-playful love conflict, was finally able to create an original type of rococo love-psychological comedy.

The article analyzes the uniqueness of the literary-critical position of Gustave Flaubert, a writer who did not leave large theoretical texts about literature, did not write manifestos or critical articles, but constantly reflects on writing in his correspondence. Through the epistolary reflection of Flaubert about literature, one can clarify his aesthetic position, understand the peculiarities of his relationship to the form and style of narration. The writer’s position was not stable and unambiguous: starting with attempts to create notes in the spirit of “romantic writing”, he comes to rejection of the open manifestation of sympathies and antipathies in art, advocating impersonal creativity, understanding the morality of art as what is contained in its beauty. Nevertheless, Flaubert’s thoughts should not be equated with the idea of “art for art”, he understood this idea in his own way and tried in every possible way to preserve a personal, unlike others attitude to literary creativity in general, and to individual writers and works.

В статье исследуется процесс постмодернистской деиерархизации произведений с фаустовской тематикой. На материале драмы Р. Гака «Замок Мефистофеля» проанализированы особенности превращения текстов мировой фаустианы в своего рода прецедентный мегатекст. В драме Р. Гака интертекстуальная игра цитатами и иронизирование над критериями оценки художественных достоинств произведений сочетается с признанием необходимости такой оценки, важности эстетической иерархии, что заставляет пристальнее всмотреться в проблему взаимодействия теории и практики постмодернизма, поразмыслить о том, в какой мере писатели эпохи постмодерна исходят из одних и тех же поэтологических установок, наконец, вновь вернуться к анализу форм и функций такого, казалось бы, изученного понятия постмодернистской литературы, как интертекст. Ключевые слова� фаустовский миф, фаустовский сюжет, прецедентный текст, постмо� дернизм, интертекст. У статті досліджується процес постмодерністської деієрархізації творів із фаустівською тематикою. На матеріалі драми Р. Гака «Замок Мефістофеля» проаналізовано особливості перетворення текстів світової фаустіани у свого роду прецедентний мегатекст. У драмі Р. Гака інтертекстуальна гра цитатами та іронізування над критеріями оцінки художніх якостей творів поєднується з визнанням необхідності такої оцінки, важливості естетичної ієрархії, що змушує глибше осмислити проблему взаємодії теорії та практики постмодернізму, поміркувати над тим, якою мірою письменники доби постмодерну виходять з одних і тих самих поетологічних настанов, зрештою, знову повернутися до аналізу форм і функцій такого, здавалося б, дослідженого поняття постмодерністської літератури, як інтертекст.