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In the article, the subject of research is intertextuality as an artistic method of play poetics of the Russian and American writer V. Nabokov (1899–1977).  The author determines the aesthetic characteristics of intertextuality in the writer’s work, as well as the principles of its artistic implementation. The following works are analysed: “Mary” (1926), “King, Queen, Knave” (1928), “Despair” (1930), “Glory” (1932), “The Gift” (1937). Intrertextuality leads a work of literature out of the sphere of classical art and towards postmodern aesthetics, and allows the author to play around with various culture codes, moving from the mimetic system to the sphere of irrational art. In postmodernism, intertextuality becomes a method of deconstruction of a work and modelling of the text according to rhizome branching principle. Such a text has no single semantic source (root); therefore the reader must find intertextual sources to be able to enjoy what they have read. The literary text involved in the intertextual game loses the seriousness inherent in serious art, transforms into an artifact, and becomes theatrical, spectacular, and comical. Intertextuality not only reconstructs a work, but also transfers it to the status of parody — Menippean satire in order to humiliate and misrepresent the classical canon. Therefore, it is impossible to say that Nabokov uses citation for the dialogue with Russian literature. The intertextuality method allows Nabokov to create mosaic texts where art codes of different works paradoxically coexist, which allows him to widen the communicative connection between the writer and reader taking the text out of the sphere of elite art towards excessive play as a way of fighting with the methods of realism.

Интертекстуальность как инструмент моделирования метатекста в творчестве В. Набокова