Интертекстуальность романа Т. Пратчетта «Маскарад»
The category of intertextuality and playing with the reader have become an integral part of mass literature in the era of postmodernism. The aim of this article analyses the intertextual inclusions in novel Maskerade (1995) by Terry Pratchett, a British writer who achieved success in the comic fantasy and is well-known for the book-series Discworld and the use of different cultural references which plays a crucial role in the construction of the storyline. The material of the research is the original text of the novel Maskerade, the primary precedent texts: The Phantom of the Opera by Gaston Leroux and the musical of the same name by Andrew Lloyd Webber, as well as several musical works of the last century. The distinctive features of the novel include the predominance of musical references over literary ones, which can be explained by the primary plot of the book, developing on the stage of the Ankh-Morkpork Opera House. The writer in the very paratitle of the novel begins an intertextual game with the reader, hinting at the main narrative line, the duality and masquerade of what happens. All plot-forming intertextual connections analysed in this article do not have any attribution and are expressed in the form of marked quotations, quasiquotations and allusions. However, Terry Pratchett, taking into consideration “the white knowledge” and the horizon of expectations of readers, subject to rethinking many images of the characters and seemingly well-known plot twists of The Phantom of the Opera. Furthermore, showing the backstage of the theatrical world with its prejudices and difficulties, the author thereby connects the real world with the secondary, fictional world, which turn out to be slightly distinguishable from each other.