POSTMODERN PARODY AS ONTOLOGIZATION OF REALITY (BASED ON THE STORY BY D. BARTHELMY "A SHOWER OF GOLD")

The article examines the problem of postmodern parody from the point of view of its ontologizing potential, namely the interpretation within its limits of the problem of the subject. The concept of ontologization is interpreted in the tradition of the opposition to the paradigm of the philosophy of presence to extra-subjective versions of ontology, in particular the postmodern concept of intertextuality. The actualization of the parody concept as a formative tool along with the explicit or implicit accentuation of the integrity of the world picture is interpreted as a search for metaphysical grounds for the aesthetic system of postmodernism and D. Barthelemy's poetics. The article substantiates the philosophical aspect of the interpretation of parody accepted in the scientific literature as a mode of organization of the structure of the text and the form-content of the text in general for postmodern aesthetics. The universal nature of parody as an interpretive optics and postmodern technique of textual collage for literature in the conditions of the visual turn of the 20th-21st centuries is outlined. It has been found that the use of the collage technique in the form of cataloging reality as its reformatting is inherent in the poetics of D. Barthelemy. It is shown that parody for the writer is a formal and substantive principle, an artistic and aesthetic instruction, and not just a technique. The demonstrativeness, or "nakedness" of the parody is achieved by changing phrasal modes, alternating dialogues and descriptions, and visualizing the action. The structural levels of parody overlap both at the formal intertextual level and at the level of numerous pretexts and supporting semantic and symbolic series. Therefore, the transgression of parody manifests itself through the unity and separation of the coder and the decoder at the moment of forming the ethos of the fragmented text as its experience. It is concluded that grotesque and parody can be considered as synesthetic sense-generative models of postmodern literature. Parody as a vital receptive and cognitive form can ontologize the subject of the text. The grotesque is a paradoxical, finalized, objectified entelechy of parody, which is practically never ontologized and does not acquire features of subjectivity. Postmodern parody reformats the subject of the narrative and the text as a formal structure, thus giving it additional semantic dimensions.