The article discusses the main types of literary borrowings outlined in the book "Introduction to the theory of intertextuality" by N. Piegay-Gros in relation to L. Lagin's prose. The purpose of the article is to analyze how each of these types manifests itself in the works of the Soviet writer. It is shown that using the citation technique, L. Lagin preserves the hermeticity of his text, imitating an appeal to external sources, but not actually including them. Reference, when borrowed text is called by the Soviet author, but is not present facilitates the "introduction to the course of the matter" and helps to typify the plot putting it on a par with already known. Particular attention is drawn to the fact that in the case of L. Lagin accusations of plagiarism are irrelevant since he was only partly inspired by the works of his predecessors. It is also shown how L. Lagin delicately influencing the reader's memory with the use of allusion retains the familiar form but completely inverts the content. It is proved that the main feature of L. Lagin’s writing style is the method of borrowing ideas, starting points, plot lines or some stylistic elements and genre templates (fairy tale, historical novel, coming-of-age story, adventure novel and fantasy), from previous Russian and foreign authors (H.G. Wells, M. Twain, S. ?ech, A. Belyaev, F. Anstey, J. Verne, R. Kipling), using them not for any kind of ridicule, but for complete transformation with introduction of his own vision, in some cases from the position of satirical reconcidering. It is shown in the article, that these types of intertextual connections submitted in the book of N. Piegay-Gros are functioning not only in the postmodern works but can be easily find in the fantastical and satirical works of Soviet writer.
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