The article is devoted to the problem of the genre. The article examines the text of a modern French novel, which has undergone radical changes in recent decades. The French novella is so new that researchers define it in terms of hybridization, crossing, transition, transgression, hybrid text, quasi-novella. Therefore, the question seems to be justified: does a new genre generate or does a genre change, while retaining its main typological characteristics? The results of the analysis confirm the opinion of M.M. Bakhtin that the dialogization of secondary genres is currently changing. The French short story is rebuilt and updated: the text as a whole takes on a different form, its balanced, extremely clear and logically verified structure split into indirectly related parts, which are photographs, diagrams, drawings and various fonts that form more or less related thematically blocks. The perfect grammatical forms inherent in the classical novelistic form have given way to present ones, the monologue component is replaced by the dialogical one, which entails a change in the category of the reader. The text introduces him as an active agent into the event and invites him to join the game. The compositional structure gives the text an interactive, playful character, responding to the time request for communication in a playful format, which enhances the “partner” character of the category of the reader, who acquired the properties of a co-author / co-narrator and qualitatively changed the narration, turning it into communication, which raises the problem of defining a new kind of narrative technology. The genre under study today retains its typological characteristics, such as brevity and a story about one event, which makes it possible to consider it as a novel, but it loses such an essential property for its typification as coup de théâtre, an unexpected denouement, which is considered by all theorists of the genre as its cornerstone. To solve these problems, it is necessary to wait for studies that would show the possibility of considering these changes as a free creative re-design of the novelistic genre or as recognition of the birth of a new artistic and literary genre.
The article is devoted to the problem of the genre. The article examines the text of a modern French novel, which has undergone radical changes in recent decades. The French novella is so new that researchers define it in terms of hybridization, crossing, transition, transgression, hybrid text, quasi-novella. Therefore, the question seems to be justified: does a new genre generate or does a genre change, while retaining its main typological characteristics? The results of the analysis confirm the opinion of M.M. Bakhtin that the dialogization of secondary genres is currently changing. The French short story is rebuilt and updated: the text as a whole takes on a different form, its balanced, extremely clear and logically verified structure split into indirectly related parts, which are photographs, diagrams, drawings and various fonts that form more or less related thematically blocks. The perfect grammatical forms inherent in the classical novelistic form have given way to present ones, the monologue component is replaced by the dialogical one, which entails a change in the category of the reader. The text introduces him as an active agent into the event and invites him to join the game. The compositional structure gives the text an interactive, playful character, responding to the time request for communication in a playful format, which enhances the “partner” character of the category of the reader, who acquired the properties of a co-author / co-narrator and qualitatively changed the narration, turning it into communication, which raises the problem of defining a new kind of narrative technology. The genre under study today retains its typological characteristics, such as brevity and a story about one event, which makes it possible to consider it as a novel, but it loses such an essential property for its typification as coup de théâtre, an unexpected denouement, which is considered by all theorists of the genre as its cornerstone. To solve these problems, it is necessary to wait for studies that would show the possibility of considering these changes as a free creative re-design of the novelistic genre or as recognition of the birth of a new artistic and literary genre.