Abstract: The article is dedicated to the study of the evolution of "New Wave" fantasy literature from the 1960s to the 1970s, based on the works of three central figures in contemporary English-language fantasy literature: Roger Zelazny, George Martin, and Neil Gaiman. It specifically discusses the transformation that fantasy underwent over several decades, starting with the movement of so-called "New Wave" authors in the second half of the 20th century, up to the postmodern literature of the early 21st century. The focus is primarily on identifying and characterizing key features of contemporary English-language fantasy, such as intertextuality, the inclusion of mythological symbols in the text, references to psychoanalytic theory, and the blending of various genres. The methodology employed in this study includes comparative, literary, and historical-cultural analysis, as well as the study and generalization of information. The scientific novelty of this research lies in the attempt to trace the roots of contemporary fantasy, the canons of which were shaped by the work of American science fiction writer Roger Zelazny. Analyzing the key works of the discussed authors allowed for the identification not only of common features but also for pointing out the vector of their transformation and reinterpretation in the works of fantasy writers from the late 20th to the early 21st century. The literature of the "New Wave" in the 1960s and 1970s revolutionized fantastic literature by breaking down the boundaries that existed between genres, bringing popular literature closer to high literature, and fostering their mutual enrichment. The poeticization of prose, the use of multilayered allusions, psychoanalytic theories, syncretism, and the blending of various mythological systems with contemporary realities constitute the creative legacy of Zelazny, which is organically embraced by his followers—Martin and Gaiman.

Abstract: The image of Ship, along with the images of World Tree and Rosa Mundi, is rightly considered one of the three most popular topoi of Western European art, starting from ancient times up to now. The mythopoeic image of Ship, rooted in Sumero-Akkadian mythology, eventually developed its own image field, the key elements of which are widely represented in various works of art. In Romanticism, Ship received its artistic embodiment in two main directions: as a symbol of man challenging nature, and as a symbol of human soul's odyssey through the waves of fate, the image of Flying Dutchman, which took shape in European folklore in the epoch of Great Geographical Discoveries. The subject of this research is to study the interpretation of the image of Ship in English Romantic literature based on the texts of its two key representatives - Coleridge's "Rime of the Ancient Mariner" and Shelley's "Vision of the Sea". During the research, such methods as comparative analysis, literary, and historical and cultural methods were used. The scientific novelty of work consists in the attempt to consider the features of the artistic evolution of the mythopoeic image of Ship in the poetry of English Romanticism on the example of texts by its key representatives through the prism of socio-cultural transformation of the image over centuries. Thus, "The Rime of the Ancient Mariner" demonstrates the tragic voyage of the ship whose crew is doomed to eternal torment. In turn, in "Vision of the Sea", the image of a strong human spirit is revealed, embodied in the ship entering into unequal battle with nature. In future, both trends will find their reflection in the works of art contributing to the development of the image field of Ship, the interpretation proposed by Coleridge being dominant.

Abstract: The article is devoted to the study of key images of Irish mythology, widely used in fantasy literature, in particular, in American novels written in the second half of XX-th century. The paper considers the images of ship, tree and raven. Special attention is paid to their artistic interpretation in the novels of a famous American science fiction writer, the representative of New Wave - Roger Zelazny. The paper examines the etymology of these images, their origins in Sumero-Akkadian, Jewish and Greek mythologies, their main symbolic meanings and further interpretation in Zelazny's key novel - "The Chronicles of Amber". As a result, the complex characteristics of the three images both in the ancient mythologies and in the context of first five parts of the novel by the American science fiction writer, namely in the Corwin Cycle, have been provided. The findings achieved show that ship turns out to be connected with the key image of the novel - the Pattern, among other things symbolizing the process of initiation of the main characters. The tree, in its turn, acts as the primary basis of the Amber universe, its multilevel structure. Finally, the raven, the alter ego of the main character - Prince Corwin - stands for his destiny, filled with contradictions and relentless battles.

Abstract: The paper deals with the study of peculiarities of mythopoetics inclusion in British and American literatures. In particular, it highlights the specificity of the way English-speaking writers refer to such mythopoetic images as tree, raven and dragon. The study is done on the works by famous fantasy and sci-fi writers: John Ronald Reuell Tolkien, Roger Zelazny, Jack Vance and George Martin. A wide range of writings in various genres of literature brings certain difficulties connected with the selection of the study material. The criteria applied to fictional texts selected for the undertaken research are as follows: the degree of influence of a particular writer, the significance of mythologemes under consideration in terms of a particular text, and their level of reinterpretation in the writings of selected novelists. The novelty of a given research is connected with considering selected mythopoetic images in the context of particular examples of British and American fantasy and science fiction never regarded together before. The research findings highlight two leading directions of English-language literatures references to the world mythopoetic heritage of ancient times. Firstly, we see the way such mythologemes as tree, raven and dragon are interwoven in the fictional discourse to create a medieval atmosphere; secondly, writers incorporate archetypical images into their texts as elements of their own myth. The second direction seems to be more promising for it results in new interpretations of classical images rather than their exploitation in new texts, thus encouraging the expansion of their symbolic content.

Abstract: The matter under research is the image field 'ship' viewed in terms of world science fiction based on the analysis of novels written by such authors as Lukian Samosatsky, Jonathan Swift, Jules Verne and Author Clarke. The researchers focus on the analysis of symbolic meaning of the image field 'ship' in literature in general and science fiction in particular. In their article they attempt to analyze peculiarities of literary interpretation of core elements of the image field 'ship' offered by different authors. Their aim to develop a full picture about the matter of study. The methodology of the research is based on complex analysis of the matter under research including such kinds of analysis as culturological, literary, intertextual, historico-literary and literary-biographical. The scientific novelty of the research is caused by the fact that the authors analyze the symbolic content of a mythopoetical image of ship viewed as the image field in terms of world science fiction. Conclusions made by the author as a result of the research are the following: 1) mythopoetical image of ship is widely presented in science fiction novels and is still important today; 2) science fiction writers represent all three components of the core of the ship image field in their novels. 

Abstract: The object of the study is the intertextuality of Corwin cycle. The subject of the research is made up by allusions of first five parts of the Chronicles of Amber by Roger Zelazny. In particular, the article touches upon numerous allusions to different fiction texts and myths, among which are the works by English classics as well as Celtic and Bible legends. The study material is constituted by such parts of the cycle as Nine Princes in Amber, The Guns of Avalon, Sign of the Unicorn, The Hand of Oberon, and The Courts of Chaos. The methods used in the study are: the method of intertextual analysis, textual method, and the method of comparative analysis. Scientific novelty of the given research is in the first ever attepmt to track the regularities of Zelazny's use of allusions and reminiscences in his works, and in his most famous novel the Chronicles of Amber in particular; to understand the way the intertext functions in the text corpus by the American fantasy writer. The main findings of the research undertaken are as follows: each part of Corwin cycle can be referred to a particular piece of world literature, or regarded in the context of this or that mythology system; allusions to mythology used by Zelazny play the plotforming function thus helping the writer to create the fantasy basis of the cycle's secondary world; distinctive literature allusions aim at revealing the main character's inner world, showing his psychological evolution, and also at making fictional characters comprehensible to modern readers; allusions to the Book of Revelation, in their turn, are used by the writer to create the key image of the whole cycle - the image of Apocalypse.