Moreover, in several days after the farewell with Galaad, she comes to the same shop, where the assistant shows her another `funny old thing', `some kind of oil can' and `had writing carved along the side in blocky old Chinese characters and an elegant arching handle'. [8; 94] But Mrs. Whitaker knows exactly what it is, the lamp, which could open for her the world of Arabic mythology, but she consciously decides not to buy it, deliberately shutting the door for magic, which can ruin the set order of her life.

Thus, we can say that in Chivalry the intertextual transformation in form of burlesque and pastiche is used for desacralization and discrowning of the chivalric ideals, but herewith for the revealing the deficiencies of modern society and culture.

2.2 Desacralization of chivalric image on the verbal and cognitive-verbal levels

Intertextual transformations in literary texts are realized not only on the narrative level, but also on the verbal and cognitive-verbal levels of communication, depending on whether an intertextual thesaurus of the reader is addressed while deciphering intertextuality.

To the verbal level can be attributed such intertextual references that can be adequately `deciphered' by the reader regardless of his familiarity with the pretext. In such cases, in the text are present the markers of intertextuality and direct and explicit references to the pretext. The reader realizes that marked text fragment is a reference to somebody else's words; everything necessary for the understanding of intertextual fragment information is presented in the context [10; 699].

In Neil Gaiman's Chivalry cases of the intertextuality, deployed on the verbal level are not very numerous. To these we can relate the titles of books, given in italics, which Mrs. Whitaker comes by in the Oxfam Shop, such as Her Thundering Soul, Her Turbulent Heart, Romance and Legend of Chivalry by A. R. Hope Moncrieff, Her Majestic Passion. These references are easy to notice and decode. They provide necessary intertextual references to the times of Chivalry, the Middle Ages, to render the atmosphere of chivalric epoch and imply that the short story itself is a kind of a chivalric romance.

But in most cases intertextuality works on the cognitive-verbal level. To cognitive-verbal intertextual phenomena belong such relations, whose decryption is possible only when a reader knows the source of intertextuality (such as reminiscence, allusion, reference and quasi-quote, parody, etc.) [10; 699]

The first to mention in this category is an image of Galaad, the knight who comes in the real world to accomplish his Quest. His name is the allusion to Sir Thomas Malory's character from Le Morte D'Arthur, who was given an honor to reach the Holy Grail. Galahad (Galaad is simply a variant of this name). Although there were many knights, who reached the Sangrail, but Galahad appears only in Thomas Malory's works.

As it was mentioned, the valorous and self-sufficient knight of the Round Table looks clumsy and `out of place' in the postmodern world. Burlesque turned the honorable man into a submissive warrior, to whom was attributed such connotations as `apologetic' or `disconsolate', which was unacceptable for the knight.

Another key point of the cognitive-verbal intertextual relations is the use of different speech registers by the main two characters, which creates three main effects in the story: pastiche, discordance and humor.

Language is the core element of such intertextual transformation as pastiche. In Chivalry among the other elements it is language that mostly sets the tone of a chivalric romance. When Galaad mentions about the sword Balmung that `it can slice a falling hair in twain, nay, it could slice a sunbeam', a reader immediately emerges in the medieval world. All Galaad's remarks are truly of the medieval knight, both in form and meaning. Not only he uses archaic forms and expressions, but also sees the world through medieval ideals, as in case, when he address to Mrs. Whitaker: “My lady,” he said, “This is for you, an you give me the Sangrail.” [8; 87]

Apart from the stylization, different language registers aggravate the discordance between two worlds; expose their incompatibility and ultimate disagreement. Gaiman amplifies the divergence by using numerous parallel constructions. One of them is when first Mrs. Whitaker tells about her life, and then Galaad:

In this case parallelism allowes not only to create a discordance in the speech registers of the characters, which belongs to the two different worlds, but also ironically highlight the huge discrepancy in ideals, beliefs and world perception.

Finally, the comic effect is achieved by the impossibility of the characters to understand each other, as they virtually speak different languages:

“Gracious lady, keeper of the Holy of Holies, let me now depart this place with the Blessed Chalice, that my journeyings may be ended and my geas fulfilled.”

“Sorry?” said Mrs. Whitaker. [8; 79]

This inability of mutual communication again accentuates the abyss between the past and present, which is a typical postmodern tendency. Moreover, a produced humorous effect, in its turn, is an integral part of another intertextual transformation, burlesque.

As the Russian scholar Natalia Fateeva notices, `the more a newly generated text is distant in time from the source-text, the brighter emerges the playing character of the proto-text treating, which eliminates the credibility of the latter' [9; 14]. Moreover, she adds, that `in postmodern texts each contrast with the proto-text results in the intertextual relations, which in its nature are caricatured, hyperbolized or overlapped' [9; 33].

These observations prove true in Chivalry. The space of time that separates the two dimensions is almost 8 centuries, which is relatively small for the universe, but immense for humanity. Neil Gaiman's short story demonstrates, that the past doesn't work in present, thus questioning the ability of modern people to adequately apprehend the history and the acquisitions of previous cultures. Yes, he spoofs and parodies the proto-text, plays with it, but his purpose is not to eliminate the credibility of the culture, but to reveal the nonchalant perception of the past by postmodern people. That is the special feature of his works: although he belongs to postmodernist, he is a fantasy writer, for whom past is a kind of affection.

So, the transformation of chivalric images in the short story under consideration is carried out under the influence of three factors: the postmodern tendencies and world view, author's pragmatic aim and, the last but not the least, reader's perception and interpretation of the intertextual transformation.

GENERAL CONCLUSIONS

The primary aim of the paper was to analyze the role of intertextuality in transformation of chivalric images in the N. Gaiman's short story Chivalry in accordance with the actual complex approach towards intertextuality in linguistics.

In order to fully reach the set aim, in the first chapter of the paper were defined the main approaches to the study of intertextuality, which range from the treating it merely as a textual phenomenon, to the cultural. Depending on the scholars' view on intertextuality, its typologies also varies. They are numerous, so in this work was considered the main classical classification of G. Ganette, which served as a prototype for many further developments, as well as the classifications, which are based on the linguistic and cultural approach, as it is in the highlight of this work.

The further investigations were concentrated on the Postmodernism and the role of intertextuality in postmodern culture and literature. These findings were crucial for the accomplishing the primary aim as the short novel Chivalry belongs to the postmodern literature, and is a means for realization of the postmodern tendencies.

In the focus of the second chapter stands the particular case of the intertextual transformations of the chivalric images in the short story Chivalry, written by Neil Gaiman, a postmodern fantasy writer. Two main intertextual transformations were singled out: burlesque and pastiche. Besides, it was retraced, what is their role in transforming separate chivalric images, such as a knight, or a Lady, as well as relics (the Holy Grail) and typical plots of chivalric literature (a motif of the Quest of Holy Grail).

Moreover, the verbal and cognitive-verbal levels of the intertextual transformations were also taken into account: they demonstrated the significant role of language in the realization of intertextual transformations and even their direct dependence from the language.

Finally, it can be concluded, that in Chivalry intertextual transformations occur on both narrative and verbal levels, it is of derivative nature, reflects the postmodern perception of the world, history, culture and literature, along with the specific features of fantastic author's understanding of the world und is fully complete only provided there is a reader, who is an interpreter and decipherer of the intertextual relations and transformations.

РЕЗЮМЕ

Актуальність цієї роботи, пов'язана зі сьогоднішнім активним вивченням інтертекстуальності у лінгвістиці у рамках комплексного підходу до мови та, з іншого боку, недостатньо всебічним дослідженням міжтекстової взаємодії у постмодерному жанрі короткоїоповіді. Крім того, недостатньо розкриті та підкріплені прикладами випадки інтертекстуальних зв'язків з добою Середньовіччя, середньовічною культурою та літературою. Саме тому обраною темою курсової роботи є «Інтертекстуальна трансформація образу рицарства у постмодерністичній прозі: лінгвокультурний аспект».

Перший розділ є теоретичного характеру й має на меті охарактеризувати основні підходи до вивчення явища інтертекстуальності, представити основні типології та класифікації інтеретекстуальних зв'язків та визначити роль інтертекстуальності для доби Постмодернізму.

У другому розділі, на основі короткого оповідання «Рицарство» (1993), написаного постмодерністом-фантастом Нілом Гейманом, представлений аналіз інтертекстуальності та характеру інтертекстуальних трансформацій образу рицарства на наративному, вербальному та когнітивно-вербальному рівнях.

Ключові поняття:

Інтертекстуальність, інтертекстуальна трансформація, діалогізм, лінгво-культурний підхід, пародія, стилізація, алюзія, рицарство, Середньовіччя, Постмодернізм.

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