For a long time, there was an opinion among Russian Turkologists and Turkish literary critics that the study of mass literature in Turkey is not serious and unworthy of scientific thought. The reasons for this approach were rooted in the state of the country's literary field, which throughout the twentieth century was defined by "high", socially oriented realistic art, which left no room for "low ", mass literature to leave the artistic periphery. However, in the 1990s, the picture of literary life in Turkey changed dramatically. Social realism was overthrown from its pedestal, giving way to an avalanche of mass book production and postmodernism, in which the detective genre occupies one of the central places. The article examines the stages of formation and development of the Turkish detective genre against the background of complex processes of interaction of various subfields in the country's literature.

Keywords: popular literature, Turkish detective story, Turkish mass literature, Turkish postmodernism, "marginal" literary genre, genre form.

The problem of the emergence and functioning of the detective genre in Turkish literature is connected with the development of mass literature in it. The appearance of mass book production in Turkey at the end of the XIX century. It was the result of the interaction of a whole complex of literary (more broadly, cultural) phenomena that are poorly studied in both domestic and foreign Turkological literary studies. You can only

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It is safe to say that Turkish mass literature originated, on the one hand, from the national "grassroots" literature (popular literature) and fiction, and on the other - from translations-adaptations of Western, mainly French mass book products.

In this complex, popular print literature had a special place. For centuries in the Ottoman culture, popular print works were the buffer through which contacts were made between the "elite", written (divan poetry/divan edebiyati) and" grassroots", oral (folklore/halk edebiyati) subcultures. In other words, it was in lubka that the absolute line between literature and folklore was blurred. A clear example of this was the work of folk storytellers-meddakhs 1 (the latter reproduced and creatively processed in their own interpretation plots, images and motifs of genres such as "high" - famous Middle Eastern author's poems-mesnevi, Turkish heroic-epic tales, and "low" - masals 2, stories-hikaye, anecdotes).

Thus, the Ottoman "elite" art (sofa poetry), genre and stylistically limited, intended for distribution in a very narrow environment, also assumed a more democratic version of existence - popular literature intended for a wide addressee. This conclusion is confirmed by the words of the famous Russian turkologist N. K. Dmitriev that " folklore and book literature are never completely isolated from each other. Their mutual influence usually generates popular literature, a special product of verbal creativity, and in each particular work of this kind, depending on the social environment of its origin, elements of either written literature or oral folklore will prevail. Although in old Turkey book literature was very sharply separated from folklore and the sphere of its distribution, nevertheless, diffusion also took place here" [Dmitriev, 1967, p.8]. Hungarian Orientalist Ign. Kunosh believed that "by the middle of the XIX century. In Ottoman Turkey, certain genres of folklore proper were almost replaced by the corresponding genres of popular print literature" [Kunosh, 1887, p. XLIII].

Ottoman entertainment and didactic fiction of the XVIII-XIX centuries closely interacted with popular literature. (Yusuf Nabi's poems "Khayrabad" and "Khayriye", Vehbi's poem "Lutfiye", a series of parodic and vulgar poems by Fazyl Bey, etc.). The classic of Russian Turkology V. D. Smirnov generally included fiction in the popular literature, combining them under the general name "folk books" (Smirnov, 1892). According to V. D. Smirnov, the "folk books" were very diverse (from anecdotes to poems and novellas) and mostly of a folk nature. Since the mid-19th century. they were widely distributed in the form of cheap books. And although these books, intended "for the literate common people, and not for the literary reading of the Muslim intelligentsia "[Smirnov, 1876, p. 26], "were not distinguished by special literary merits" [ibid., p. 29-30], but, according to V. D. Smirnov, they gave an idea of the spiritual world of the common people, on the religious impact on the perception of the world, on moral values and family life.

An important condition for the development of popular "grassroots" art in general and mass literature in particular in Ottoman Turkey was the appearance of book production replication, which assumed that the value of the former and any of the latter-

Meddah -1 is a" qualified " storyteller-a professional who acts out performances in Turkish coffee shops. According to N. K. Dmitriev, the repertoire of meddakhs is "the repertoire of urban philistinism" [Dmitriev, 1967, p. 9].

Masal, 2 or fairy tale, one of the most common genres of Turkish folklore, called among the people "tales of the old grandmother".

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there is no difference between the existing originals. In Ottoman literature, book printing 3 led to the emergence of a special democratic form of publications - books in cheap covers, on cheap paper, often in different formats, as well as"novels with a continuation" 4, published in periodicals in parts-issues, and cheap popular-style popular prints with explanatory or instructive inscriptions. The number of copies of a single text could increase indefinitely, depending on demand. It is no accident that the definition of "mass" has a twofold meaning: mass production of mass literature and the calculation of broad consumption, which implies not only the satisfaction of available demand, but also its organization.

There is no doubt that the appearance of the first works of Turkish mass literature was promoted by national enlighteners of the Tanzimat period5, who advocated the high purpose of art. Fascinated by enlightenment ideas, they realized and began to criticize the "philistine" tastes of ordinary people, laying the authoritative tradition of seeing literature as a means not so much of entertainment as of spiritual development and enlightenment of the people. The enlightenment writers Namik Kemal, Ibrahim Shinasi, Ahmed Midhat, Abdulhakk Hamid, and others considered it their first duty to introduce the "uncultured" strata of the population to the culture of the educated Turkish estates oriented towards Western Europe. And since there was a majority of such "uncultured" strata among the inhabitants of the Ottoman Empire, the popularization of spiritual production was inevitable. The enlighteners had to agree, for example, to rework and adapt to local conditions translations not only of Western classics, which were made clear to the people by enlightenment writers, but also of mass-love and detective literature. At the same time, the hope of being able to teach the reader to distinguish between good (high) and bad (low) remained.

But the paradox of the development of culture was that, having gained access to the "high" - relying set of classics in economically accessible publications (Hugo, Balzac, Voltaire, Rousseau, etc.), the Turkish reader was imbued with a great interest in "stupid" books (French detective stories by Alexis Ponson du Terrail, Emile Gaborio, Pierre Delcourt,etc.). Xavier de Monteien, Jules de Gastain, Pierre Zaccon, etc., French "ladies '" novels). Appropriate to the tastes of the non-demanding public "detective literature"6 and "philistine" novels clearly did not contribute to the enlightenment, on the contrary, they worsened aesthetic tastes. Between 1881 and 1902, dozens of Western (mostly French) detective novels were translated into Turkish and published, among which Alexis Ponson du Terrail's Paris Mysteries, The Orsivale Crime, Lecoq - Agent of the Detective Police, Case No. 113 and The Widow's Case were particularly popular. Lerouge" by Emile Gaborio, "The Assassin Bernard" by Edmond Tarbet, "The Secret of the Investigator" by Pierre Delcourt," The Crime of Asnillier " by Xavier de Montepin," The Old Age of Monsieur Lecoq "by Fortunet du Boisgobeuil, " The Secret of the Priest" by Leon de Tinso," The Fatal Hotel "by Loisy Noir," The Case of the Commissioner", "The murderer of women", "The Fugitive", " Theft of strange objects on the railway"By Joseph Erler," Murder in the Rue Morgue " by Edgar Allan Poe and others [Üyepazarci].

3 V. D. Smirnov [Smirnov, 1892] and E. I. Mashtakova [Mashtakova, 1984] studied the influence of Turkish printing on the development of national literature in Russian Turkology.

4 "Novels with a sequel" included not only national fiction and popular literature, but also personas-adaptations of French detective stories and "ladies '" novels.

5 Tanzimat (Arabic)- "reforms, transformations"; a period spanning approximately 1840-1870, when the Sultan's government took steps to modernize the country. The framework of the literary Tanzimat, which includes the works of leading enlightenment writers (Namyk Kemal, Ibrahim Shinasi, etc.), already includes the 1860s and 1870s.

6 K. Chukovsky was ironic about the predilection of his contemporaries for such literature, but recognized that "this detective literature, whatever it may be, has one great property: it exists" [Chukovsky, 1910, p. 131].

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Until 1908, translated works of the detective genre were the most widely read. Turkish researchers attribute the rapid development of translated literature, including detective fiction, in the Ottoman Empire to the consequences of the Crimean War and the Tanzimat reforms, which led to the strengthening of Turkey's ties with the West and the Westernization of its entire cultural life [Bayram, 2004, p. 10]. National scholars believe that the" explosion " of the translated detective story was largely stimulated by the preferences of Sultan Abdul Hamid II (1876-1909), who was a big fan of this genre. During his reign, about 6,000 detectives were transferred [Bayram, 2004, p. 12], which, however, seems very doubtful. Most likely, this figure refers to the entire volume of translated printed products of 1880-1909.

A characteristic feature of translations of that time was the attempt of translators to introduce the Turkish reader to the unknown realities of Western (most often French) society through notes and comments [Bayram, 2004, p. 15-16]. After the Young Turk Revolution of 1908, interest in translations of Western literature grew even more. The genre range of translated books has also expanded. In the first decade of the 20th century, a translation of A. Conan Doyle's Sherlock Holmes stories into Turkish was made for the first time.

Turkish researchers who have been systematically studying the national detective genre only since the late 1990s [Bayram, 2004; Çamci, 2006; Çelik, 2010; Gezer, 2006; Türkes, 2006, etc.] note that almost simultaneously with the translated detective story, domestic works of this kind also appeared in Turkey. Thus, in 1883, the newspaper Terjuman-y Hakikat published the novel "Mysterious Murder"by the famous Turkish writer and educator Ahmed Midhat 7 ("Esrar-i Cinayat"), which was published as a separate book a year later. In 1884 and 1888, two other detective novels by Ahmed Midhat were published - " Amazement "("Hayret") and" The Robber Montari "("Haydut Montari"). In 1901, Fazla Necip's novel "Killer or Victim?"was published. ("Cani Mi Masum Mu?"), in which, in addition to the detective conflict, there were also elements of melodrama. In 1912, Yervant Odyan-efendi, under the pseudonym Ebulbehzat, attempted to write the first series of Turkish detective novels. The artistic level of his novels turned out to be extremely low, and the reading public received them very coldly. In 1913. Ebussureyya Sami also turned to creating a series of national detective stories about the adventures of Turkish Sherlock Holmes-Amanvermez Avni. This time, readers liked the novels, and the detective series itself gave rise to anonymous imitations of the characters of Amanvermez Sabri (1928) and Amanvermez Ali (1944) [Bayram, 2004, p. 18].

Following the adventures of the Turkish Sherlock Holmes, the Turkish Arsene Luien appeared, which was invented by Ye. Ali and Suleiman Sudi, imitating the works of M. Leblanc. Their novel "Night Birds" (Gece Kuslan, 1914) was a classic detective story, complicated by a love affair. In 1922, Hussein Nadir published a series of novels under the general title"Fakabasmaz Zihni" ("Fakabasmaz Zihni"), in which the image of the detective was also copied from Arsene Lupin, in addition, these works had much in common with the series of novels about Fantomas by Marcel Allen and Pierre Souvester. Some Turkish researchers doubt the authorship of Huseyn Nadir. They believe that Huseyn Nadir is a fictitious person, and under this name the popular writer Ebussureyya Sami was hiding at that time [Bayram, 2004, p. 20; Gezer, 2006, p. 15; Üyepazarci].

In 1924, the well-known writer and journalist Peyami Safa9, under the pseudonym Server Bedi, launched a very successful national detective project-the cycle

7 Ahmed Midhat (1844-1913) - public figure, publicist, translator, novelist, founder of the national short story genre.

Zihni 8-can be translated from Turkish as Um, or Smart, Umnik.

9 Psyami Safa (1899-1961) was one of the founders of the Turkish modernism of "bunalim literature".

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novels about detective Jingez Rejai. His character enjoyed such great popularity among readers that, despite the author's own reluctance to continue developing this topic, in 1925, he was released from the library. Peyami Safa was forced to return to his hero again. In 1954, the novels about Djingez Rejai were adapted into films by director Metin Erksan, becoming the first Turkish detective television series. And in 1962, a year after Peyami Safa's death, a complete edition of all his works on Djingez was published [Çelik, 2010, p. 21].

In the late 1920s and early 1930s, a populist writer, author of short stories, novels and poems dedicated to peasant themes, aka Gunduz 10, also appeared in the detective genre. In his novels Dikmen Yildizi (1928) and Tinsel (Yaldiz, 1930), detective intrigue developed against the background of a patriotic theme - the courageous struggle of the Turkish people against foreign invaders in 1918-1923.

After the reform of the alphabet in 1928, a wave of translations of Western detective stories began with renewed vigor. In the 1930s, the first translations of Agatha Christie's The Queen of English Detective novels appeared in Turkey. In 1936, her most famous novel Murder on the Orient Express was published, which aroused particular interest among the Turkish readership. However, later translations of novels by the American writer Mickey Spillane became more popular [Çelik, 2010, p. 22].

In the 1940s and 1950s, interest in the translated Western detective story did not subside, but, on the contrary, increased. During this time, detective stories by Dorothy Sayers, Gilbert Keith Chesterton, Ellery Queen, John Dixon Kappa, Earl Stanley Gardner, Edgar Wallace, Raymond Chandler, and others were translated into Turkish. At the same time, Turkish authors continued to create works in the detective genre. To the period 1940-1950. This includes the work of such famous detectives as Hamdi Varoglu, Riza Danishent Korok, Melek Z., Ilkhami Safa, Iskender Fahrettin Serteli, Zia Calicoglu, Majdi Emiroglu, Jahid Gundoglu, Turhan Aziz Beler and Faik Benlioglu.

It is interesting to note that venerable names of national prose also experimented in the detective genre. For example, the classic of Turkish literature, the author of numerous historical novels, including the famous "Motherland" (Devlet Ana, 1968), Kemal Tahir 11 (under the pseudonym F. M.), the famous short story writer and playwright Arif Yesari 12 (under the pseudonym Muzaffer Ulukaya) created national adaptations of Mickey Spillane's novels [Çelik, 2010, p. 23].

In the 1940s and 1950s, the detective story turned into the leading genre of mass literature in the country, while during this period mass genres that complement the detective story also began to gain popularity - national "pink" / love novels by women writers (Kerime Nadir, Muazzez Tahsin Berkand, etc.), historical (i.e. pseudo-historical) novels, including comics, on the life of sultans and their entourage (Shakir Zia, Feridun F. Tulbenchi et al.) [Sofronova, 1986, pp. 12-13]. Despite being in demand among a wide readership (most often those from rural areas who have recently joined the written culture), mass/ " low " literature in the period of the 1940s and 1980s remained on the periphery of the national artistic process, being fiercely attacked by powerful left-wing literary critics (Tahir Alangu, Fethi Naji, Mehmet Dogan,Ahmet Kabakli, etc.). Hasan Kahraman et al.). During these years, the interaction of mass literature and "high" literature ("social realism", modernist literature" bunalym","current of Sayda Faik" /socio-psychological prose, subjective-psychological prose) was extremely weak. It mainly manifested itself in the borrowing of plots by mass literature,

10 Aka Gunduz's real name (1886-1956) is Eiis Avni. The leitmotif of most of his works was the spiritual superiority of "a man from the people" over "people from society".

11 Kemal Tahir Demir ( 1910-1973).

12 Arif Yesari (1922-1987).

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motives and images of "high" literature, with their subsequent simplification, adaptation to the needs of the general readership and turning into cliches.

In the 1990s, the literary situation in the country changed radically. A new multi-level literary field was formed in the national artistic literature, the parts of which (realistic, postmodern and mass literature) coexisted on equal terms, being in the process of constant interaction and interchange. This was especially evident in the relationship between mass literature and postmodernism: postmodern palimpsests 13 played out cliches of mass literature in travesty, and mass works epigonically used postmodern stylistics.

This situation (the blurring of the boundaries between the "elite" and the mass) caused sharp discontent among the Turkish left-wing critics, who branded mass literature and postmodernism equally zealously. These critics (Fethi Naji, Ahmet Oktay, Mehmet Onal, etc.) managed to accurately capture what to some extent united such works: a departure from the humanistic values of the past and a capacious realistic imagery with a pronounced emphasis on typification - in mass literature, a person turns into a cliche, a flat stereotype, with an extremely weak individual characteristic and in postmodern works - in an empty sign (simulacrum), which does not carry any personal beginning.

In the avalanche of mass book production in the 1990s, the national detective still held a leading position. A large number of young authors worked productively in this genre, most of whom were educated abroad (Ahmet Umit, Alper Janyguz, Sevil Atasoy, Jalal Oker, Birol Oguz, Levend Aslan, Taner Aya, Engin Gechtan, Unal Bolat, etc.). The undisputed leader among these writers was Ahmet Umit (born in 1960 G.). His novels, written in a" good "language, with a clear respect for the literary language tradition, with fascinating and topical (and sometimes even political-detective) plots, "understandable to the people", "without newfangled postmodern bells and whistles", also had fascinating catchy names. In these titles, the reader's interest in the possibility of solving a mystery was artfully fueled. The author either used the word "night" with its veil of mystery - "Barefoot night" ("Çiplak Ayakliydi Gece", 1992), "The voice pierces the night" ("Bir Ses Böler Geceyi", 1994), "Fog and Night" ("Sis ve Gece", 1996), or included in the text the following words: The names of the word "mystery" itself and the concepts that indicate it are " Agatha's Key "("Agathanin Anahtan", 1999), "The devil hides in small things" ("Seytan Ayrintida Gizlidir", 2002), "Gates of Secrets" ("Bab-i Esrar", 2008), etc.

Representatives of the older generation of writers (Osman Aisu, Erhan Bener, Umit Qivanc, Mehmet Eroglu, etc.) also tried their hand at the detective genre. Thus, Osman Aisu (born in 1936), who made his literary debut in the late 1960s, wrote his first detective thriller "The Executioner" in 1994."("Cellat"), which was well received by the readership. He was followed by his other well - known detective novels-Operation Caviar: Anatomy of one wrecking " ("Havyar Operasyonu: Bir Suikastin Anatomisi", 1995), "Wolf's Den" ("Kurt Sigmagi", 1995), "Walls of Mystery" ("Sir Duvalan", 1995), etc. Mehmed Eroglu (born 1948) in his novel "The Exile of the Heart" ("Yürek Sürgünü", 1994) continued the theme of po-

13 Palimpsest (grsch. palimpseston - again scraped off) - in ancient times, this was the name given to a manuscript written on parchment that was already in use. To save material, the old text was scraped off and a new one was written in its place. The scraping procedure was not always perfect, so in some cases barely noticeable fragments or individual letters of the old text (or images) were viewed under the new ones. Often there were several such layers. In modern art practices, the palimpsest principle is used as a conscious artistic device. For example, postmodern writers make their works "multi-layered", so that different quotation layers are superimposed on each other and, due to this, transcode each other travestically.

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He is also the author of a literary detective story, which he started in the acclaimed trilogy of the 1980s-"Belated Death" ("Geç Kalmis Ölü", 1984), "Alone" ("Issizligin Ortasinda", 1984), "Unfinished Movement" ("Yarim Kalan Yürüyüs", 1986).

In the 1990s, the main paradigms of the national Turkish detective story were developed, which defined this genre as a stable literary model. In other words, a kind of set of rules and regulations of the game was outlined, which the authors of detective stories conveyed to readers in order to ensure their correct understanding of the texts: what should be the figure of the detective; how should the process of investigating the riddle/crime take place; what should be the solution of the riddle itself. In the same years, both the first serious studies of the genre (Berna Moran, Hilmi Yavuz, etc.) and the first attempts to classify it (Omer Turkesh, Erol Uyepazardji, Fatih Ozguven) took place.

In the 2000s, the number of detective writers increased significantly. Turkish researchers also add the names of debutants of the genre to the already well-known authors. Among them are Orhan Teoman Ozdemir, Havva Gulbeyaz Coshkun, Shule Shahin, Mehmet Murat Ildan, Bashar Akshan, Kemal Barysh Injitmez, Shevki Ishbilen, Ferhat Unlu, Enver Gunsel, Ismail Unver, Aytekin Geziji, Ismail Gulensoy, Chagan Dikenelli [Celik, 2010, s. 22-23].

The Turkish detective model of the 2000s is undergoing a significant transformation compared to previous years. If earlier it was strictly differentiated according to genre forms (classic detective, "cool", procedural, thriller, etc.), each of which contributed to the consolidation of specific mythologies and stereotypes in the mass consciousness (i.e., its own horizons of genre expectations), now it is the norm to combine genre forms of detective both with each other and with other genres. other formulaic genres of mass literature (romance, Gothic, pseudo-historical, spy novel, fantasy novel, etc.). Borrowing "related" and "unrelated" genre invariants leads to the emergence of eclectic constructions (love novel with elements of a detective story, female detective, detective with elements of a popular science essay, historical detective, etc.). mystical detective, "cool" detective with erotic elements, spy detective thriller, etc.) that do not lend themselves to an unambiguous genre definition. The pioneer in developing new detective strategies was Ahmet Umit, who, before other national writers, was born in 1996. in the novel "Fog and Night", it was possible to successfully combine different genre forms of detective (classic, "cool", thriller) with the genres of romance and spy novels.

In the 2000s. especially popular among Turkish readers are the historical " To Kill the Sultan "("Sultani Öldürmek", 2012) and the historical-mystical " Gate of Secrets "("Bab-i Esrar", 2008) detective novels by Ahmet Umit, satirical detective novels "Sweet Dreams" ("Tath Rüyalar", 2000), " Sons and offended souls "(Ogullar ve Rencide Rular, 2004), "Secret Agency" (Gizli Ajans, 2008) by Alper Djanyguz, documentary detective essays " Journey in the Dark "(Karanlikta Yolculuk, 2010) Sevil Atasoy, detective novels-thrillers " The Love Game "("Ask Oyunu", 2000), "The Tale of Love" ("Ask Masall", 2000), "The Blunt Side of the Knife" ("Biçak Sirti", 2001), "The Screen fairy Tale" ("Beyazperde Masali", 2007), "The Spy "("Casus", 2008) by Osman Aysu.

Turkish researchers consider the 2000s to be a special period in the history of the Turkish detective. The volume of detective production and its great success among readers allow O. Turkesh to call the 2000s the" golden age " of the Turkish detective [Türkes, 2006, p. 18]. According to D. I. Celik's calculations, today there are about 70 writers actively working in the detective genre in Turkey, and their number is constantly growing [Celik, 2010, p. 74]. Researcher E. Uyepazarji among the diverse

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Turkish detective literature of the last decade is distinguished by the works of Ahmet Umit, Osman Aysu, Jalal Oker and Birol Oguz. In his opinion, Osman Aisu is the creator of the first national detective thriller. In the works of Ahmet Umit, E. Uyepazarci sees "fascinating detective stories unfolding against a broad social background and in complex manifestations of the human psyche" [Üyepazarci]. The critic is sure that in the coming years the detective story will only strengthen its position in the Turkish book market.

In the 2000s, the Turkish detective actively interacts with non-literary genres of mass culture, forming a kind of symbiosis: the characters of detective novels and short stories move to the pages of comics, act in films and television series. For example, Commissioner Nevzat from Ahmet Umit's novel "Chief Commissioner Nevzat" ("Baçkomiser Nevzat", 2005) becomes the main character of the comic book "Chief Commissioner Nevzat: Death of a Flower Vendor" ("Baçkomiser Nevzat: Çiçekçinin Ölümü", 2005), and then - of the TV series "Running in the Dark" ("Karanhkta Kosanlar",2005). 2001). The characters of Osman Aisu's novel-thriller "The Executioner" ("Cellat", 1994) act in the famous director Feizi Tun's TV movie "Manuscript of Death" ("Ölümün El Yazisi", 2000). In some cases, the authors of detective stories generally write novels based on movies or television series.

The study of the basic parameters of the modern Turkish detective story, which expands the researchers ' understanding of the country's literary field, inevitably leads to the problem of interaction and interchange of the mass and "elite". Already in the 1990s, the possibility of using the detective genre as a "reading model" also appeared to Turkish postmodern writers as a rather productive means of activating the reader in the interpretation of their palimpsests and thereby maximizing the potential readership. This is largely due to the use by such authors of the central principle of postmodern aesthetics - the principle of "double coding", which implies addressing simultaneously several groups of readers with different levels of competence. This principle allows you to successfully communicate with a new type of reader-open, receptive to new ideas, to a certain extent "omnivorous", i.e. ready to enjoy both the products of "high" literature and deliberately "low" forgeries.

Turkish postmodern writers already in the 1990s began experimenting with genre detective codes, complicating them with a travesty game with codes of other formula genres of mass literature. As a rule, these writers used the codes of classic and "cool" detective stories in their works (Orhan Pamuk, Pinar Kur, Bilge Karasu, Ihsan Oktay Anar, Perihan Magden, etc.). In some cases, they included in the travesty the codes of pseudo-historical (O. Pamuk, I. O. Anar), Gothic (B. Karasu), love/ "pink" (P. Kur) novels [Repenkova, 2010]. Switching genre registers of various detective and non-detective models in postmodern palimpsests led to the imposition of different codes on each other, to the "removal" of one code by another, and as a result - to the destruction of the horizon of genre expectations of the reader. This transformation of detective codes allowed writers to solve their main task-to actualize narrative strategies that give an idea of the world as a boundless text. At the same time, the detective genre, previously considered a "prisoner" of its code, showed plasticity, "lost the one-dimensional nature of mass art, became multi-level and multidimensional, acting as a kind of genre-semantic laboratory in which new variations of novel art crystallize" [Kuchumova, 2010, p.15].

The existence of the postmodern detective proves that the final destruction of the opposition between the "elite" and the mass did not happen - only the nature of their interaction and the pace of mutual exchange changed. Vivid evidence of the change

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The speed of the " movement of models between the high and low layers of culture "(B. McHale) is the assimilation of the creative discoveries of O. Pamuk, B. Karasu and P. Kur by Turkish mass literature and culture in general. If the" Black Book "("Kara Kitap", 1990) by O. Pamuk was immediately recognized as "his" by the community of detective fans and even a detective film "Mysterious Face" ("Gizli Yüz", 1992) was made on it, then mastering and mastering the "Guide" ("Kilavuz", 1991) B. Karasu proved to be gradual.

The other side of the interaction and interchange of opposing subfields of modern Turkish fiction is manifested in the fact that the direction of the experiment of "elite" authors with detective formulas coincides (O. Pamuk, B. Karasu), and sometimes anticipates (P. Kur) the vectors of development of the detective story as a genre of mass literature. Thus, the postmodern deconstruction of the basic elements of the classic detective story in P. Kur's "Bir Cinayet Romani" (1989) is enhanced by the narrative riddles of the "narrative" detective story: the main character / "unreliable narrator" forces the reader to constantly hesitate and choose which of the hypostases he corresponds to (maniac/lover, criminal / victim, detective/ criminal, etc.) and what is his fault. Thus, P. Kur prepares the ground for the development of new genre forms of detective fiction in mass literature and, most often, their eclectic combination. At the same time, the eclectic nature of the genre forms of mass literature and the transformation of the codes of various mass genres by the postmodernist author in creating a new aesthetic unity are phenomena of different orders.

The study of the problems associated with the formation and development of the Turkish detective leads to the conclusion that the detective story is a specific, "marginal" literary genre, in which the processes of interaction and interchange of "high"/ elite and "low"/ mass appear especially clearly. The formation of the genre-forming principles of the Turkish detective story took place throughout the XX century and was mostly completed by the 1990s. Since the 2000s, the further evolution of the genre was, on the one hand, in the direction of combining various genre forms of the detective story with the genre settings of other formula genres of Turkish mass literature, and on the other - travesty with Turkish postmodernism.

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Smirnov V. D. Turkish civilization, ce schools, software, libraries, knizhnoe delo. From a trip to Constantinople in 1875 / / Vestnik Evropy. 1876. Vol. V. Kn. 9.

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