Topos of irony in the receptive-interpretative space of the postmodern literary text

The article is devoted to the main semantic and text-forming mechanism for organizing a literary text - the topos of irony from the standpoint of establishing its role in the reception and interpretation of the postmodern worldview embodied in such a text. Since reality is not conceived of postmodernly outside of the language (text), the need for receptive competence and the handling of information defined by a specific area of ​​communication and possessing accuracy increases. The recipient focuses only on the necessary part of the information flow, so the text is the basis of the methodology of world perception. Cultural codes and cultural competencies acquire the properties of regulatory mechanisms capable of selecting perceived facts. The relevance of the article consists in establishing those correlative relationships and factors that determine the reception and interpretation of the postmodern literary text. These factors include topos of irony, the correct decoding of which is due to presuppositions characteristic of the representative of a particular socio-linguistic and cultural collective. All postmodern literary texts are characterized by a playful character, which, in turn, now determines the foundation of artistic creativity in general, and not just those texts that put comic or only satire as part of the comic in the center of the art world, determining their aesthetic tasks. The purpose of the article is to determine the ontological status of the topos of irony in the receptive-interpretative space of the postmodern literary text. The topos of irony in the postmodern literary text is the textual and style-forming principle of the aesthetic practice of a particular author, the purpose of which is to engage the recipient in the dialogue, co-creation in receptive and interpretive activities, “unrolling” the literary text itself in the coordinates of the ironic and game scenario. Since irony is a kind of intellectual provocation that allows the author to identify “his” reader, there is also the need to consider the topos of irony in relation to the specifics of a socio-linguistic and cultural collective.