Fleming reproduced the genre dominant of the spy novel: in order to accomplish the incumbent mission, the agent is sent into the enemy territory to discover the plans of the enemy and neutralize it, which, in our opinion, are drawn in the spirit of science fiction. Thrilling narration is constructed as a series of victories and defeats, capture and an unexpected salvation. In the person of James Bond, Fleming created a man of action devoid of doubt, perceived by the mass consciousness as a superhero, while he was just a “wonderful machine” in the hands of his omnipresent chief.

A. Sarukhanyan refers the works of J. Fleming about James Bond to the genre of “romance”. Many elements go back to the famous literary and mythological sources (the Knight fighting the dragon, brave and loving Eros, bringing the death Thanatos). From our point of view, the main character of James Bond didn’t set himself a goal of becoming a noble knight for the only dearly and platonic beloved beauty, but he fulfilled the mission entrusted to him by the state, and women, in his case, were only an auxiliary tool for achieving this goal. Or, as a rule, on the contrary they prevented him from achieving the set object by their betrayals.

As A. Sarukhanyan noted, during the “cold” war spy novel genre experienced its golden age. “The cult of Bond was not that long. In the 60s, it transformed into the world of the film industry, meanwhile in the literature the anti-James Bond mood highlighted. The golden age of a spy novel occurred in the decades of the “cold war” [4].

It appears that the interest in him was stirred up by the exposure of the real spies, the famous British intellectuals (Guy Burgess, D. Maclean, Kim Philby, George Blake), who had been working on the Soviet Union for ideological reasons. Then the potential of the genre was discovered,the tradition of J. Conrad, who portrayed the world distorted by the atmosphere of secrecy, duplicity and treachery, and introduced the theme of a double agent (“Secret Agent”, 1907, “Under Western Eyes”, 1911), actualized. But from our point of view, the greatest impact was made by Graham Greene, which was recognized by the most famous authors of spy novels. Novels and the anthology of Green’s “Spy’s Bedside Book” (1957) testify his understanding of the genre as a way of modeling extreme situations for the determination of the essential problems. After Conrad, he expressed his idea of the twentieth century, as the era of universal conspiracy, in which networks anyone can be.

Yury Uvarov in the preface to his book “The French spy novel”, which was published in Moscow in 1992 in the “Politizdat”, states that the spy novel genre acquired extraordinary popularity in the 50-80s on the West, and particularly in France.“Millions of readers are attracted to this genre because it retains a number of important functions, mostly lost in the so-called “serious literature”. It develops the images of the “positive characters” in the face of detectives – counterintelligence fighting against the dark forces that are ready to disturb the peace, security and break the habitual way of life of law-abiding citizens. The books of this genre have a lot of captivating and interesting information about the modern world, which in the blink of an eye carries the reader into various points of the globe. Finally, these books are popular because they meet the fervid needs of the exotics, something an unusual, bright, substantial, unlike the gray, mundane everyday life “[1].

We shall disagree with the opinion of Y. Uvarov, in the context, where he opposes the “detectives – counterintelligence” to the “dark forces”.  From our point of view, the distinct genre dominant of spy novel is the opposition of special services of one state to the Intelligence or Counterintelligence authority of the enemy state.

Next Y. Uvarov represents his vision of the genre code of the spy novel – “the spy novel” can not be reduced to a single type. It is very heterogeneous and has many varieties. We offer our readers the variants specific to the different stages of the development of the genre, which has grown in detective fiction, and at first it distinguished only by the fact that in comparison with the traditional “criminal” detective story, here at the center of attention is the crime which prejudices the state, but not the individual” [1]. From our point of view, the idea of ​​Y. Uvarov is essentially true, as the spy novel is rooted in one of the types of the detective fiction, which has later acquired a number of its characteristic features and “gemmated” in a separate genre.

Next, Uvarov accurately defines “the ancestor” of the spy novel in France: “In France, the books of this genre haven’t appeared for a long time. The novel by Pierre Nord “Double Crime on the Maginot Line” (1936), which was included in our collection, was the first French “spy novel” [1].

From our point of view, in the Western literary criticism, the similar to the USSR during the “cold war” tendency is being observed − the arrival of retired officers in the literature and, as a consequence, the particularization of the working methods of the security services.

Y. Uvarov in his preface confirms our assumption. “The author has been prepared for the role of the founder of the” spy “genre by his biography. When the novel “Double Crime on the Maginot Line” was first published, its creator was the counterintelligence officer with solid experience. His real name was André Brouillard” [1].

Same as in the USSR, in this period of time, the author has no right to disclose the secrets of his official work. So he inserts in the text a significant proportion of fiction and talks not about what he was doing there, but creates a fascinating story. But above all, he hides his own name, and instead of André Brouillard appears Pierre Nord (it is easy to notice that he took as the nickname the name of the province where he was born).

For all his commitment to an almost documentary accuracy the author retained, however, the loyalty to the purely literary tradition in the creation of a detective story. Although it is clear that the events take place in the mid 30s of XX century, under specific conditions, the narrative and the manner of presentation seem much like antiquity. Such kind of detective investigation, which is presented in the first French “spy novel “, could be simply conducted by the characters of the authors of XIX – early XX century like Emile Gaboriau, Conan Doyle, or by Gaston Leroux. Pierre Nord retains the atmosphere of the mystery, which is peculiar to classics of the genre. His works are characterized by an abundance of details and particulars that complicate the search, which had to testify the special sophistication of the criminal and to set off the wisdom of the detective-investigator, who skillfully untangles the Gordian knot, and reveals a secret of the crime.

Y. Uvarov assesses the development of the genre of the spy novel after World War II: “After World War II and up to the 80s in the French detective novel, including the first of its “spy” branches, there have been dramatic changes. The classic examples of the genre have almost become a thing of the past. So they have become an anachronism. Even before the Second World War in the U.S., a new type of detective fiction has emerged − the so-called “thriller” (causing tremors). It is also called a “cool” detective story. In such kind of novels, a detective, “fighting against evil”, relies not so much on the intellect and scientific knowledge, but rather on his agility, resourcefulness, responsiveness, as well as on his physical strength and accuracy. There is no place here for the logical calculations and psychological analysis. Descriptions of murders, car chases, fights and intimate scenes in the novel take up much more space than the story of the gradual thoughtful disclosure of the secrets of crime” [1].

From our point of view, in another type of novels, on the contrary, the intellectual and spiritual qualities of the main character are emphasized. He is the defender of the “free world”. “At the same time he must have iron muscles, shoot well and to be a real womanizer when it is necessary for the business” [3].

Y. Uvarov claims that the first type of “spy novel” has acquired the especially huge popularity. But the “spy novels” with “romantic” trend have also won the hearts of many readers. Their heroes, although most of them work for the CIA (that corresponds to their “ideological problem”), actually are not such defenders of America as of common to all mankind values, which are ​​under threat. It is obvious that such a noble mission must be carried out by heroes, endowed with only positive qualities” [3].

Thus, this genre has turned out to be the most suitable for the expression of the ideology of the “cold war”, which, as it is well known, lasted from the late 40′s till almost the second half of the 80s, experiencing over the years rises and falls. Both in the western and Soviet press and in the literature of these decades there was created and cultivated the image of an enemy who was exposed and defeated by the defenders of the system. The detective fiction, which emerged in the last century, in the era of Romanticism, with its division of the characters on the bad criminals and white perfect noble heroes, has retained this contrast up to the present day. But the role of the former criminal − a robber or a murderer – was taken by an agent of a foreign state. In the context of the “cold war”, this agent was almost always a spy from the socialist countries with his assistants, and its antipode − the noble hero – was played by the representative of the secret service − the defender of the social and political system, who expressed its ideology.

“Duke of Bassano, encipher the letter to Baron Mignon that in case the war starts, I will assign him to the headquarters and put in the control of the secret police, that means the espionage in the enemy army, translation of the captured letters and documents, testimony of prisoners and so on; it is necessary that he should form immediately the secret police and to find two well-speaking Russian Poles, military with combat experience, intelligent and trustworthy. The first should know Lithuania, the second − Volhynia, Podolia and Ukraine, and the third should be German speaking and well-knowing Livonia and Courland. These three officers will have to interrogate prisoners. They need to have at their command about twenty well-selected agents, who will be paid depending on the information they delivered. It is desirable for them to be able to report about the points, through which our army will be passing.

I wish Mr. Bignon were immediately engaged in this great organization. To begin with, these three agents must mislay their agents on the way from St. Petersburg to Vilna, from St. Petersburg to Riga and from Riga to Memel, on the way from Kiev and three roads leading from Bucharest to St. Petersburg, Moscow and Grodno, and report daily on the state of fortifications.

If the reports are satisfactory, I won’t spare 12,000 francs a month. During the war, the rewards to individuals, who can provide with some useful information, can’t be limited. Among Poles there are some people who know the fortifications and can report on their state from different locations”.

In May 1812, Baron Bignon was replaced in Warsaw by the Archbishop de Malines, and the management of all intelligence organizations was given to him.

Napoleon personally dictated to Duke of Bassano very detailed instructions to the new representative in Warsaw, and it provides instructions on the conduction of policy in Poland, the creation of public opinion and stimulation of a guerrilla war against the Russian. Concerning the intelligence issues, in this letter the following is written:

“Baron Bignon, a resident of the emperor, created the service on extraction of information about the organization, state, location and movements of the troop. Due to this information, as well as the reports of the ministries, we have managed to find out the general situation, which is reported to you in the attached copy. You are to continue this work and to consider it as the most important among all of the trusted ones to you. The direct process of work is entrusted to the First Secretary. Mr. Bignon will explain the methods of his work and tools. Mr Envoy should give this matter the more extensive development.

Necessary funds will be provided at his disposal. It is necessary for you to have a dozen of agents-Poles at various points on the border, on the tracts, in the countries neighboring with Russia, and even, if possible, in a hostile country. Warsaw is the great central point where everything will flock; from there the quick correspondence with the Bureau should be carried out, which is located at the headquarters and is in charge of these matters under my leadership.

The locals, who are artfully used and skillfully interrogated, will also provide the envoy with useful and extensive information.

It is also necessary to enter into relations with the prefects and sousprefects of the border areas, with the Austrian authorities in Lviv, the French ambassadors in Vienna and Constantinople and with the consuls in Iasi and Bucharest. We should offer them to have the correspondence with the envoy and inform him about everything that could give information about the projects and the movements of the enemy in the various countries where there might be military actions.

Mr. Bignon will receive the order to remain in Warsaw as long as it will be necessary to obtain the guidance from him in the local environment, which he perfectly knows. Mr. Envoy should select two translators, the Polish and the Russian ones, at that choice of great value, he can help Mr. Bignon”.

Marshals followed the example of their leader. “It is as much important to the military leader to hide his intentions as to delve into the enemy’s intentions, − says Marmont. − In this regard, he should not miss anything. He should keep spies; pay them well, although not to trust their testimony blindly. It is particularly advantageous to establish relations with employees at headquarters”. The general Belliard wrote to Lassalle in October 1805: “Dear Lassalle, obtain various information about the enemy, if it’s possible, send a spy in Naumburg, promise him a large sum of money, 3000, even 6000 francs, if he delivers valuable information”.

“Bugeaud tells among other things the following fact: “In 1812 there was a moment when the French army lost contact with the Russian one and had no information about it, despite all attempts to learn at least something. Then this problem was taken by some Captain Lafontaine, who was brought up in Russia and spoke Russian perfectly well. Disguised as a Russian officer, he got into the area occupied by our army, rode around on post-horses, having required them by the imaginary commandment of the emperor, and returned a few days later with a rich resource of valuable information”.

Marbot says in his memoirs that before going to Russia all the French generals got the maps of Russia, they were printed from the copper engraving boards, which despite their unhandiness were stolen from Russian archives by the French spies, and then sent out to France.

In 1811 Lord Wellington kept many spies and often sent plainclothes officers to the French. From the first French corps, he received information from the working in the Spanish embassy counselor, and from Madrid − from the famous guitarist Fuentes. Some Stewart, who led the maritime trade of bread with France, kept the fisherman under this pretext on the shore of the Bay of Biscay and got a lot of information about the enemy army. Finally, Wellington had a spy who was a shoemaker, who lived in a hut on the tip of the bridge near the Bidasoa. He was to watch every French soldier who entered the Spanish territory, and deliver all the information to Lisbon.

In 1812 we used the spies many times, and this role sometimes was taken by our famous partisans. Suffice it to recall the searches of Figner in the outskirts of Moscow. Speaking French perfectly, he easily went to the French bivouacs disguised as a trader, a tramp, and sometimes even as a French officer. Our army is obliged to its glorious partisan Figner due to the considerable amount of important information.

Austrians also did not neglect the services of the spies. According to de Braque, in the day of the battle of Esslingen on the French bivouacs Austrian spies were found, who got into there under the pretext of buying leather of the cattle slaughtered for provisions for troops.

France and Germany after Napoleon

After the fall of Napoleon in France everyone starts to neglect the collection of information with the help of spies, which lasts till 1871, whereas in Prussia, this industry of reconnaissance is gradually being expanded”.

“Having achieved the brilliant flowering under Frederick the Great, the secret service of reconnoitering in Prussia after a period of decline again acquired the immense importance under Bismarck and Moltke, who both understood profoundly a broad public importance of intelligence and who could choose the employees not regretting for this purpose its main engine – the money.

Before the planned war with Austria in 1866, the intelligence service in Bohemia was organized by the famous chief of the Prussian secret police Stieber – who was according to Bismarck, “The King of Spies”.  Stieber’s work lasted for two years (from April 1864 to May 1866), and during this time he was subjected to constant risk. He personally studied the upcoming theater of war, and also put in Bohemia a number of “milestones” – the agents, aptly described by Stieber. Most of the agents were quite trustees, mainly Prussian nationals, retired militaries, businessmen, etc.

The information provided by Stieber to Bismarck, was so valuable and definite that at the beginning of hostilities Stieber was appointed as a chief of the Field Police.

Well thought-out, planned and systematically carried out into life the organization of intelligence service gave excellent results and in the huge extent contributed to the rapid and victorious end of the campaign.

Even stingy with praise Moltke could not keep himself from telling Bismarck: “Greenhorn Stieber or someone else organized this important service, but it runs good, so everything is great”.

After the Austro-Prussian campaign Stieber offered Bismarck a plan of a new organization of intelligence service in France, which had to be built “on the basis of bohemian approach, but with greater prudence and methodicalness and on the larger scale”.

For organizational success Stieber asks Bismarck only for two things – the money and carte blanche for his actions, based, of course, on the general guidelines above.

An energetic, tireless, systematic work on the organization of intelligence service in France began.

Since that time we can see not just a training of intelligence service before this war, but the methodical, deeply thoughtful spreading of intelligence service in the country of the possible enemy in case of war.

What was the purpose of the organization of intelligence service in France? Stieber personally spread intelligence service in the departments of the Upper and Lower Rhine, Moselle, Murtha, Vosges, Jura, Ardennes, Marne, Haute-Marne, Haute-Savoie , Doubs , North , Seine and Oise,  the distribution of the network was built in accordance with the planned operational directions, the entire network was given a slim hierarchical organization, with central intelligence agency, to which there were two subordinate trustees  − police lieutenants, who had four subordinate regional inspectors that had residences in Berlin, Brussels, Lausanne and Geneva. The areas of inspectors were divided into brigades.

Stieber took measures and for the continuity of the intelligence after the declaration of war, − for this purpose a significant portion of agents under various pretexts, had to remain at their locations even after the declaration of war.

During the trips, Stieber controlled by his personal visit 1850 people of already spread agents in the listed departments, gave them new instructions and increased the salary. Besides the already existing agents there were thirteen thousand more secret agents added to their list, among whom there were from four to nine thousand German women servants for coffee houses, restaurants, pubs and hotels, from seven to nine hundred retired non-commissioned officers with a primary school education, settled in various retail companies, forty six young and pretty Prussian girls to work in military buffets, and finally two hundred of female servants to work at lawyers, doctors, officials, officers. The French hired the German servants willingly, because besides their direct work, they were children’s first teachers of German. Besides all these agents mentioned above, Stieber wanted to spread about 20,000 more spies, so all in all there were about 35 thousand of agents to be implemented and who had to cover all operating ways from Belgium and Berlin to Paris.

Besides the spreading of intelligence service in the period before the war of 1870 for a detailed and competent study of the future theater of war and secret reconnaissance by the German General Staff was sent a number of plainclothes officers, who executed their important and responsible work under various pretexts.

By the summer of 1870 apparently all the plans of Stieber were carried out into life, a network of intelligence service in France was organized, the war began. The systematic work of secret intelligence service continued during the war. “The third intelligence bureau” was headed by Major Krause, who concentrated all the information.  In the close connection with this bureau worked the Field Police headed by Stieber headed, which was in charge of specific issues of the intelligence service and the fight against espionage.

The Field Police was responsible for: in the intelligence to assist the military authorities on the delivery of the information:

a) about the placement, strength and movements of each of the enemy troop;

b) about the age, character and reputation of each of the heads of units;

c) about what happens, the mood of the minds; the means of the areas through which the German army had to pass;

d) to deliver people in each of these areas who may report useful information, to intelligence;

e) to use already existing permanent spies, hire new ones and finally to corrupt traitors.

As for the counterintelligence:

a) to watch foreigners inside and outside the main location of the headquarters;

b) to view letters and journals by special instructions;

c) to control and monitor the activities of the newspaper reporters, who have access to the headquarters, the content of their correspondence and dispatches in the specific edition, which was established by the army headquarters;

d) to watch the various people by the instructions of the army headquarters;

e) to protect the individuals of the senior officers.

After the war, Stieber, who remained at the head of the secret service, continued his work against France, by expansion and capture of the new areas.

The intelligence service already began to haunt not only purely military purposes, i.e. information acquisition which is necessary for the successful prosecution of war, but also enhanced the activities in the sense of conducting propaganda.

Since 1880, Stieber began to spread the special railway secret service, so at the moment of the mobilization and transportation of troops to begin the destruction of railways; the tremendous importance for the systematic implementing of the army concentration and its deployment is trouble-free work of railways, needs no proof, and it is clear what kind of hopes Stieber had about the successful execution of his grand plan. In 1883, already a very large number of German spies managed to be employed on the French railways, and in February 1884 the French Military Department managed to track down a German spy railway organization − and it was ordered to inform all foreign nationals, who worked on the railways, of the need to “immediately take French citizenship under penalty of immediate dismissal and expulsion from the service”.

Among 1641 of foreign nationals, who served on the railways, only 182 of them refused to be naturalized and came back to Germany.

In the early nineties a serious propaganda started on the French railways, which had the purpose of a general railway strike, besides the verbal propaganda waged by the German money, there was also the printed propaganda, for which there was opened a special loan from the secret fund to the sum of 80 thousand thalers in order “to pay for the foreign publications useful for the imperial policy”.

“The campaign of 1870-1871 also proved that the Germans in general, and the Prussians in particular, with regard to espionage have not forgotten the lessons of the past and the instructions of “Old Fritz”. It is true that the French people, irritated by the failures, were ready to recognize a spy in every foreigner, which has led to many unfortunate misunderstandings. However, according to the unanimous testimony of many French writers and officials, who are to be trusted, both civilian and military ones, long before the war, the eastern France was overflowed by the legion of the Prussian spies and undercover officers. Some of them measured the depth of rivers under the pretext of fishing, others, disguised as the artists, took pictures of the neighborhood of Langres, Belfort and other fortresses.

At the beginning of the war in Strasbourg a man appeared, who pretended to be an authorized of the U.S. company on the delivery of weapons and ammunition to the army. His presence in Strasbourg, where there was no emperor nor the army headquarters, evoked the suspicion. He was watched and he was about to be arrested, but he suddenly disappeared. The military police was reported of his distinguishing features, which detained him at the exit from the wagon in Metz. Then he confessed that he was one of the chiefs of German spies and told about the organization of this business. After he was committed to trial, he was shot.

The German spies were also found among the personnel of military medical institutions. The greatest number of them was discovered during the siege of Paris, two of them, for example, disguised as nurses, one was the begging, and at the bottom of his cap he made ​​the drawings of the Paris fortifications. There was even found a brave heart, who managed to inspect the Fort of Mont-Valerysh disguised as the marine lieutenant with a fake pass signed by the Minister of War. He was accessed to the examination, but by the telegram it was reported that the Military Department ordered to arrest him immediately, but the answer was too late, so the spy had escaped.

September 30, 1870 someone Cruzem was sent from Metz to discover if the Germans got reinforcements from Strasbourg, which had surrendered to the enemy. Cruzem had walked around almost the entire German blockade line on the left bank of the Moselle, and on the way back to Metz he had to go crawling about three miles. On his return he had delivered information on the approximate number of the enemy, on the location of its warehouses and brought them the discovered Prussian newspaper. All in all he had got about 40 francs.

The police agent Flahaut was sent in Aug. 20 from Thionville to Metz with two important dispatches from Mag-Nagon to Bazin. After arriving safely in Metz and passing dispatches, on the next day he went back to Thionville with five important dispatches; the Prussian patrol spotted him and pursued for four miles. To avoid capture Flahaut had to leave the wagon, in which he traveled, and jump into the Moselle. After swimming for about four miles away, he went ashore and without further adventures reached Thionville. For the execution of the order Flahaut got 50 francs.

August 20, the forest guard Dechou delivered seventeen official dispatches from Thionville to Metz, and on the way back, he got under the fire of the French, who were shooting at the Prussian Lancers. Dechou was given 20 francs.

The sailor Donzella for the delivery of dispatches first from Tours to the  blockaded Thionville, literally with the same difficulties as those of Flahaut, and then back to Brussels got 200 francs.

In the campaign of 1870-1871 the French authorities, generous on promises proved to be mean, when they had to pay for the execution of the order: the rewards for the transfer of dispatches through the enemy lines ranged between 50 and 200 francs, but they repeatedly paid only 520 francs.

With the regard to the cash costs of the Germans on spying in 1870-1871 there is no data.

“September 1, 1871 in Sedan, the French army surrendered, which listed in its army in the last day of the battle 124 000 of people (among whom 17,000 of people were killed and wounded, 21,000 − taken to prison, 83,000 − surrendered by capitulation, 3000 − disarmed on the Belgian territory) . What are the causes of such a catastrophe? There are many of them, but the reader deigns to realize at least the essence of data presented below. Long time before the Franco-Prussian war, France based its foreign policy on the weakness of Germany, looked down at the union of the German states, ignoring them as something unnatural.  Before the war the French believed that Germany could use only 350,000 of troops, while Germany already in the war in 1866 exposed so many troops that afterwards its armed forces had grown on three corps and 50 battalions of Landwehr, not including Saxon corps and Hessian divisions, which had, of course, to join Germany in case of war. Overall in the beginning of the war of 1870-1871 Germany actually exposed 531,000 of active troops. The full and robust report of the great French agent in Berlin Lieutenant Colonel Stoffel of Prussia’s preparations for war, its armed forces and the command wasn’t believed by the minister of war, nor Napoleon III, who was so much confident in the friendly attitude of Prussia to France, that he withdrew Stoffel, but in 1868 reappointed him in Berlin. After the Sedan’s defeat in Paris there were even rumors that Stoffel’s reports were found unopened, although partly. Finally there is an eloquent excerpt from a military order of Napoleon III from August 4, 1870: “You always have to expect from the enemy the most reasonable actions. In English journals there is written, that General Steinmetz occupies the central position between Saarbrücken and Saarlouis; he is supported behind by the corps of Prince Frederick Charles, and from the left he is joint with the army of prince who is in Rhenish Bavaria. Their purpose is to go straight to Laney. In fact: the 1st Army of Steinmetz was the right wing of the Prussian Army , the 2nd army of Prince Frederick Charles – the center, and not the support of Steinmetz , third army of the Crown Prince of Prussia – the left wing, not the left neighbor of Steinmetz, but of the 2nd Army. The goal is “to find the main forces of the enemy (the French) and to beat them”, but not “to go straight to Nancy”.

It seems to us that already these brief details about the neglect of the French intelligence, especially the secret one, forejudged the fate of the French army.

The great politic changes, that occurred in Europe after the Second World War, engaging society and art, not only involved art systems changes, but promoted the appearance of their new forms. The necessity of historic events reconstruction and understanding of what happened led to the joining of belles-lettres and documentary styles of reflecting the reality, the creation of voluminous epic series and the distribution of satirics, novels where the recent past became the source of thinking about the present.

The interest to deep “roots” and national foundations causes the process of a nation’s self-identity and finding its place in the global community. Just in the 60s, a problem of “Englishness” is raised in English literature, when the belles-lettres research of concepts of British consciousness and life style helps to discover and  put off everything obsolete but at the same time to save democratic forms of society and inherent foundations for the British.

Realias of the “Сold” war were fitting in with their plot vector in several ways: portrait types of the eastern opponent, themes of nuclear and bacteriological war, and descriptions of politic regimes on the periphery of global world.

First of all, portrait images of spy novel protagonists were called up to serve the reinforcement of negative perception of the ideological opponent. Anthony Burgess brightly describes his heroes in the novel ‘Tremor of Intent’ [2] in 1966, devoted to his trip to USSR. According to the historical note, Anthony Burgess visited USSR not only to learn about the life behind the “iron curtain”, but to accomplish a secret mission of Britain’s Military Intelligence MI6. On return Anthony Burgess was so disappointed and bewildered because he saw nothing horrible there, that he wrote a spy novel nothing like as he planned. Instead of a pure spy novel he wrote a parody. Opposed to A. Burgess, Michael Gilbert didn’t write parodies, but he created a spy novel called ‘Death Has Deep Roots’[3], in which a whole set of genre dominant is. As his teachers he names two English writers Margery Allingham and Graham Greene [4] – two of the best writers of this century. According to him their novels became the role models on the early stages of his work. In his interviews he also mentions many masters of the genre, whom he had a chance to learn from – Eric Ambler [11], Francis Iles, Edmund Crispin, Anthony Boucher, Jullian Simmons and Amanda Krost, and all of them evoked his true admiration. Also, one may observe a thematic similarity in the novel of the English writer Robert Tronson, in the narrative “Afternoon of a counterspy” [8], which reflected a wide-scale and meaningless fuss of numerous English intelligence agencies in the invisible battle with the Soviet intelligence service.

Norman Lewis [6] (1908-2003) once said that he is the only one among people known to him, who can enter a crowded room and leave it after a while, staying entirely unnoticed.  This points not only to modesty, but to a preferred position of the famous writer – the attitude of an onlooker, who cannot be overseen. The same quality characterizes his style – which is simple, obvious, very dynamic and precise – clear.

In 1959 Ian Fleming [9], the future creator of “James Bond”, who was working for both “The Sunday Times” and MI6 at that moment, sends Lewis to Cuba to discover what were Castro’s chances of victory over the Batista regime. In his essay, “Mission to Havana”, Lewis recounted two memorable meetings: the first one was with Ed Scott, the Bond’s prototype itself, the man who preferred to have the office service of naked black secretaries and wore shells instead of cuff links. The second meeting was with Hemingway. “He told me nothing, – wrote Lewis, – but taught me more than I wanted to know”. The Scott and Lewis’ meeting was observed by another intruder, Graham Greene [4], who used this scene in his famous novel “Our Man in Havana”. Later, when Greene was reviewing “Missionaries” where Lewis described those destructions which American fundamentalists brought on pagan tribes of the Pacific and Latin America, he will call Lewis one of the best writers of the 20^th century.

Another writer, who succeeded to overcome the scope of typological limitation of a classic spy novel, was Peter O’Donnell [7]. He was born on April 11, 1920 in London. At the age of 16 he already worked as a journalist in various newspapers and magazines. He created several comic strip heroes – Tiger Tim, Chips and Captain Moonlight.

Since 1938 and during the Second World War he served as a noncommissioned officer (NCO) in the mobile radio detachment (3 Corps) of Royal Corps of Signals, which came under command of MI6 Foreign Intelligence Service, as well as he served in the 8th Army in Persia, then in Syria, Egypt, Italy, and since October 1944 in Greece. In 1965 Peter published his first novel “Modesty Blaise” [7, 3]. The book had a great success and as a result O’Donnell continued the publication of series, interchanging the publication of novels and comic strips for over 30 years.

Keeping the tradition of authors who served in intelligence agencies, Peter O’Donnell created an occasional spy novel heroine of the Modesty Blaise series. The Modesty Blaise character became widely known due to the book itself and the adapted screenplay, where Monika Vitti played the role of the almighty spy. One needs to look for a reason of such success not so much in belles-lettres values of the novel as in the originality of plot discovery. At last, after a variety of spy-men, created for over two decades, O’Donnell realized to make up a character who served in Britain’s Intelligence service and who’s dangerous and successful in spying not less than men.

In the given context one cannot fail to mention Adam Hall [10] (the real name – Elleston Trevor) – who was a writer of spy novels. During the War he served in Special Branch of Britain’s Intelligence Service in Royal Air Force. His most famous character is Quiller. The novels about Quiller are represented as a synthesis of two concepts of the English spy novel. In his skills, education and equipment Quiller can be referred to super-agents such as James Bond. With respect to the atmosphere of secrecy, treachery and danger, the novel series about Quiller is closer to the detective style of John le Carré [5]. For the first time ever the protagonist appeared in the novel “The Berlin Memorandum” in 1965 (“The Quiller Memorandum” in USA and Russia).

The real adversity was the distribution of pseudo literature. The richest owners of publishing firms advertize, finance and distribute that kind of “fiction” or lionize murderers, violators, racists. Cheap “paperbacks” – sensational fiction and detectives in clamorous, “suspenseful” covers – are mostly designed for a reader, lacking any literature taste; usually, they are written by people, who don’t have a direct relationship to literature. These books attract by a criminal story line and, which is usually more unlikely, the accumulation of horrors, promotion of violence, sex, crimes, the morale of commercialism and bring up the idolism of moneybags and the pursuit of wealth at any price.

Although that kind of “literature” is way beyond artwork, it would be a mistake to underestimate its influence on an average customer. Being published in multimillion editions and supported by advertising, it is widely spread and read among all levels of English people.

But novels by crime fiction “veterans”, such as Agatha Christie [3] and other similar authors, are still popular. In the beginning of the 40th and 50th detective stories about crimes and criminals were replaced with novels that were involving political problems, problematics of relations between countries during the World War and right after its end, the so-called spy novel genre. During the course of its development, this genre transforms, taking new forms of the plot vector and modified protagonist realization. The general tendency for the mentioned period can be pointed out as the ethical and moral deformation of the protagonist image, due to the war time, from “romantic” to “prosaic”. The protagonist of an English spy novel of the World War II period is already clear from the ties of moral duties in fulfillment of the spy activity. The successful realization of the mission, imposed on him by the country, becomes the first coming target for him as far as the whole course of the country’s further military operations depends on its results. So, one may say that the motivation of intelligence activity realization was deeply changed. The moral perception of responsibility was intensified, a clear practical task and ways of its accomplishment from the moral basis of personality got detached. Both the morality and the task are each on their own. Talking about Spy novels of the World War II period it is necessary to underline their structural and typological particularity of plot organization. Novels, written during the period of the Second World War, as a rule, reflected either the Big Game of Intelligence services of rival countries or singular commando-type reconnaissance operations. In our opinion it is necessary to mention that authors of Spy novels in direct or indirect ways had an attitude to the Great Britain’s State Intelligence service, which was brightly reflected in details of novels. The spy novel genre of the WWII period is characterized by burst of novels, the plot of which aimed at covering events which took place on the world stage of
military relations. Among writers, whose works fell at the World War II period, it is important to mention the creative work of Graham Greene [2], who was a professional soldier of the Great Britain’s Intelligence service. He joined the Intelligence Service in 1941, where he was successfully serving, particularly, in Sierra Leone, and resigned at the rank of colonel. In his novels G. Greene presented his experience gained during the service. Every his novel reflects a specific military-intelligence operation with a description of work approaches and methods of British Intelligence Agencies.

We may call another bright representative of the spy novel genre during the period of WWII – Ted Allbeury [8], who was an intelligence officer. He was serving in the British Intelligence service during the whole course of World War II (1939-1947), having resigned at the rank of lieutenant colonel. He fulfilled himself as a master of the spy novel genre in the world of letters.

In the history of the spy novel genre development one can certainly call the first ever woman writer – Helen MacInnes. Helen Clark MacInnes was born on October 7, 1907 in Glasgow (Scotland). She was brought up by her parents in the frames of traditional strict Protestantism. She earned a degree in the University of Glasgow, then in University College London, where she became a specialist in librarianship.

As Helen had a good command of several European languages, she was helping her husband Gilbert to do German translations, which he was doing by order of the secret service, where he was a regular officer at that moment. Helen was a mastermind of ideas and solutions of politic problems, which her husband was responsible for.

Due to practically unlimited access to secret files of her husband she could learn in full measure the real situation in the given period and realize the nature of Nazi tyranny, methods and principles of German Intelligence Services activity.

To our opinion, we should mention another author of spy novels – Dennis Yates Wheatley [1]. Wheatley was born on January 8, 1897, in London. His creative work is defined by his biography. He received his education in Dulwich College, but was expelled from it because of academic failure. During World War I he was serving in Royal Artillery regiment, but was gassed and then dismissed from the army.

His politic novels promoted an invitation from MI5, where with the help of his imagination he was composing analytical notes with different propositions, which helped on a possible intrusion prevention to England. The success of his analysis leads to the fact that in 1945 Wheatley headed the team of Winston Churchill’s counselors. After the war he was awarded Bronze Star for his services.

From our point of view, spy novels by Robert Chatham [10] deserve attention because they are written in a very realistic manner. The plot line in them is alike to the one in Ted Allbeury’s novels. [8]. Robert Chatham (5 June, 1911 – 1 January, 1985) – the pseudonym of Ronald Sydney Seth, was a British writer, who in the period of WWII was a secret servant of English Intelligence Service. After the war he wrote several novels about the Intelligence service. Due attention should be given to the novel “Secret Servants” [10] as it was written by Seth based on Japanese archival materials, a thing that nobody had ever done before. The author briefly recites the history of Japanese spying, mentions a lot of interesting facts about the activity of Japanese spies in various countries.

We ought to mention the creative work of another author, who wrote a series of spy novels, describing real events of WWII – Alistair Stuart MacLean [4-6]. He was born on April 28, 1922 in Glasgow (Scotland). His mother, Mary Lament MacLean was a very religious woman, keen on singing, and his father, who was also Alistair Maclean – was a clergy of the Church of Scotland, as well as an author of a few religious books.

During the early of World War II Alistair MacLean joined the Royal Navy as a volunteer, where he was serving in naval intelligence and performing covert operations for British Intelligence Service in different parts of the world, particularly in Russia. The real danger, which he was facing during the activity, gave him rich material for his works. MacLean served on HMS Royalist, the basic function of which was escorting American convoys with humanitarian cargo on their way to Murmansk. He reflected his experience in his first novel – “H.M.S. Ulysses”, 1955 [5]. With the opening of the second front, the convoys finished their activity, and HMS Royalist was redeployed to the  Mediterranean Sea. In September, 1944 Maclean took part in organization and realization of a commando-type reconnaissance operation which was planned to seize seacoast defenses on Greek islands occupied by the Germans. The operation became a plot basis for the second novel “The Guns of Navarone” 1957, but also for its sequel. In 1945 Royalist was redeployed to the Far East, where he took direct part in the liberation of Singapore, – he pursued the intelligence training of territorial planning, and military activities became the material for the plot of his third novel  “South by Java Head”, 1958 [4].

The real adversity was the distribution of pseudo literature. The richest owners of publishing firms advertize, finance and distribute that kind of “fiction” or lionize murderers, violators, racists. Cheap “paperbacks” – sensational fiction and detectives in clamorous, “suspenseful” covers – are mostly designed for a reader, lacking any literature taste; usually, they are written by people, who don’t have a direct relationship to literature. These books attract by a criminal story line and, which is usually more unlikely, the accumulation of horrors, promotion of violence, sex, crimes, the morale of commercialism and bring up the idolism of moneybags and the pursuit of wealth at any price.

Although that kind of “literature” is way beyond artwork, it would be a mistake to underestimate its influence on an average customer. Being published in multimillion editions and supported by advertising, it is widely spread and read among all levels of English people.

But novels by crime fiction “veterans”, such as Agatha Christie [3] and other similar authors, are still popular. In the beginning of the 40th and 50th detective stories about crimes and criminals were replaced with novels that were involving political problems, problematics of relations between countries during the World War and right after its end, the so-called spy novel genre. During the course of its development, this genre transforms, taking new forms of the plot vector and modified protagonist realization. The general tendency for the mentioned period can be pointed out as the ethical and moral deformation of the protagonist image, due to the war time, from “romantic” to “prosaic”. The protagonist of an English spy novel of the World War II period is already clear from the ties of moral duties in fulfillment of the spy activity. The successful realization of the mission, imposed on him by the country, becomes the first coming target for him as far as the whole course of the country’s further military operations depends on its results. So, one may say that the motivation of intelligence activity realization was deeply changed. The moral perception of responsibility was intensified, a clear practical task and ways of its accomplishment from the moral basis of personality got detached. Both the morality and the task are each on their own. Talking about Spy novels of the World War II period it is necessary to underline their structural and typological particularity of plot organization. Novels, written during the period of the Second World War, as a rule, reflected either the Big Game of Intelligence services of rival countries or singular commando-type reconnaissance operations. In our opinion it is necessary to mention that authors of Spy novels in direct or indirect ways had an attitude to the Great Britain’s State Intelligence service, which was brightly reflected in details of novels. The spy novel genre of the WWII period is characterized by burst of novels, the plot of which aimed at covering events which took place on the world stage of military relations. Among writers, whose works fell at the World War II period, it is important to mention the creative work of Graham Greene [2], who was a professional soldier of the Great Britain’s Intelligence service. He joined the Intelligence Service in 1941, where he was successfully serving, particularly, in Sierra Leone, and resigned at the rank of colonel. In his novels G. Greene presented his experience gained during the service. Every his novel reflects a specific military-intelligence operation with a description of work approaches and methods of British Intelligence Agencies.

We may call another bright representative of the spy novel genre during the period of WWII – Ted Allbeury [8], who was an intelligence officer. He was serving in the British Intelligence service during the whole course of World War II (1939-1947), having resigned at the rank of lieutenant colonel. He fulfilled himself as a master of the spy novel genre in the world of letters.

In the history of the spy novel genre development one can certainly call the first ever woman writer – Helen MacInnes. Helen Clark MacInnes was born on October 7, 1907 in Glasgow (Scotland). She was brought up by her parents in the frames of traditional strict Protestantism. She earned a degree in the University of Glasgow, then in University College London, where she became a specialist in librarianship.

As Helen had a good command of several European languages, she was helping her husband Gilbert to do German translations, which he was doing by order of the secret service, where he was a regular officer at that moment. Helen was a mastermind of ideas and solutions of politic problems, which her husband was responsible for.

Due to practically unlimited access to secret files of her husband she could learn in full measure the real situation in the given period and realize the nature of Nazi tyranny, methods and principles of German Intelligence Services activity.

To our opinion, we should mention another author of spy novels – Dennis Yates Wheatley [1]. Wheatley was born on January 8, 1897, in London. His creative work is defined by his biography. He received his education in Dulwich College, but was expelled from it because of academic failure. During World War I he was serving in Royal Artillery regiment, but was gassed and then dismissed from the army.

His politic novels promoted an invitation from MI5, where with the help of his imagination he was composing analytical notes with different propositions, which helped on a possible intrusion prevention to England. The success of his analysis leads to the fact that in 1945 Wheatley headed the team of Winston Churchill’s counselors. After the war he was awarded Bronze Star for his services.

From our point of view, spy novels by Robert Chatham [10] deserve attention because they are written in a very realistic manner. The plot line in them is alike to the one in Ted Allbeury’s novels. [8]. Robert Chatham (5 June, 1911 – 1 January, 1985) – the pseudonym of Ronald Sydney Seth, was a British writer, who in the period of WWII was a secret servant of English Intelligence Service. After the war he wrote several novels about the Intelligence service. Due attention should be given to the novel “Secret Servants” [10] as it was written by Seth based on Japanese archival materials, a thing that nobody had ever done before. The author briefly recites the history of Japanese spying, mentions a lot of interesting facts about the activity of Japanese spies in various countries.

We ought to mention the creative work of another author, who wrote a series of spy novels, describing real events of WWII – Alistair Stuart MacLean [4-6]. He was born on April 28, 1922 in Glasgow (Scotland). His mother, Mary Lament MacLean was a very religious woman, keen on singing, and his father, who was also Alistair Maclean – was a clergy of the Church of Scotland, as well as an author of a few religious books.

During the early of World War II Alistair MacLean joined the Royal Navy as a volunteer, where he was serving in naval intelligence and performing covert operations for British Intelligence Service in different parts of the world, particularly in Russia. The real danger, which he was facing during the activity, gave him rich material for his works. MacLean served on HMS Royalist, the basic function of which was escorting American convoys with humanitarian cargo on their way to Murmansk. He reflected his experience in his first novel – “H.M.S. Ulysses”, 1955 [5]. With the opening of the second front, the convoys finished their activity, and HMS Royalist was redeployed to the  Mediterranean Sea. In September, 1944 Maclean took part in organization and realization of a commando-type reconnaissance operation which was planned to seize seacoast defenses on Greek islands occupied by the Germans. The operation became a plot basis for the second novel “The Guns of Navarone” 1957, but also for its sequel. In 1945 Royalist was redeployed to the Far East, where he took direct part in the liberation of Singapore, – he pursued the intelligence training of territorial planning, and military activities became the material for the plot of his third novel  “South by Java Head”, 1958 [4].

Thus by analyzing the accumulated literary material, the researcher concludes that the preconditions for the emergence of a separate  “spy novel” genre  are inseparable historical and literary process, “mobility” of the genre, the various factors influencing the genre “core” (the term created by M. V. Norets).

As a result, after the processing of the obtained analysis of the data, the author offers the following type of genre matrix. As a methodological basis Norets takes into consideration a set of genre features offered by N.D. Tamarchenko [6-10]. However, characteristics are divided into static and dynamic. The hero in the representation of M.V. Norets [1-5] is a permanent part of the genre matrix, which is realized through its action in the artistic world, which (in the final analysis, or as a whole) breaks and restore impartial world balance. Therefore, it allocates the hero of “action” and the hero of “consciousness.” However, according to N.D. Tamarchenko, a mismatch of the hero with its role (function) appears in the novel, which is directly reflected in the reasons for refusal to act or committing inappropriate actions [8]. Our position tends to the opposite version of the hero, where the hero is the bearer of the artistic act, which is not coincide of its consciousness with the world (which does not recognize and does not understand it).

Artistic type of event, in the treatment of  N.D. Tamarchenko, V.I. Tyupa, S.N. Broytman, was described in the “theory of artistic discourse. Theoretical Poetics “[7] is the inevitable appointment of the protagonist and antagonist from opposite parts of the artistic world.

The second component of the genre matrix according to M.V. Norets is the structure of the plot. It is the main (and possessing the” generic “specificity) plot situation” [1, p. 33]. The researcher considers it as “the single source of the deployment of the plot.

The basic plot situation consists of several interrelated features: a doubling of the central event; law of retardation; equity and equality of chance and necessity; equality and interrelation of the  cyclical and cumulative plot schemes; randomness and conventionality of the boundaries of the plot [1, p. 32].

M.V. Norets sees the doubling of the central event in the following way. Each individual event reveals the essence of the world ,  which consists in unity and equality of opposing forces or principles, are equally necessary for the existence as a whole.

The Law of retardation. It is a result of the equality of two distinct factors of scene deployment: initiative of the hero and “initiative of the” circumstances. In our understanding, “initiative” of the circumstances is primary in relation to the initiative of the hero, because the reflective reaction of the hero depends directly on the current of the artistic world and the circumstances that dictate the behavior of the hero.

Equality and the equivalence of a chance. Direct interpretation of the confrontation implies their functioning as a basic of the story line.

Equality and interrelation of cyclical and cumulative plot schemes.     M.V. Norets [p. 33] following the investigators [6, 7, 9] sees the specificity of the artistic plot exactly in the i equality and interections the principles of plot construction. Cyclic “frame” (“the initial and final situations are similar, although the second differs from the first by rising the status of a hero, or an internal change,” his ”eminence “) is combined with the “stringing” of events inside the frame. The cumulative part of the plot plays an retarded role. In our opinion, the cyclic frame adopts a “pulse” character (giving a sharp boost to the “evolution” or “degradation” of the hero).

The randomness and arbitrariness of the plot’s boundaries.                       N.D. Tamarchenko, V.I. Tyupa, S.N. Broytman [7] tend to distinguish  two options complete coincidence or suddenness (unmotivated) initial and / or final events from the perspective of the reader is available: if he hadn’t been brought to the major events or the logic of their deployment suddenly broken in the end, the boundaries of plot can submit to him as the result of the author’s arbitrariness; the reader may realize a convention of such beginnings and endings that seem natural to him ( unintended) when all events seem just part of beginning and endless process of life.

However, in our view, the author’s arbitrariness is not only the sudden violation of the logic of their deployment, but also is a change of event sequences of artistic time.

In our opinion, following the ND Tamarchenko VI Tyupoy SN Broytmanom [7] M.V. Norets considers that these signs served as the basis for the two-component matrix containing the matrix of the genre and the genre dominance. Genre dominant, in this context, appears to us as the “driving force” of transformation of the genre.

The author singles out the genre constant – “architecturally stable” core – i.e., it’s a code consisting of “frozen” signs, which involve the novel to a particular genre. According to his words – it is a genre matrix [1, p. 34; 2, p. 39]. Matrix is a model that possesses certain properties and is understood as an example, the scheme of the object from which other objects are reproduced. There are also “a genetic component, the idea of the parent form, as it is transmitting its properties by inheritance.”

In the matrix there is the ability to generate a similar _ objects and properties, i.e. multiply itself. Matrix – is a maternal (generating) “skeleton”, suggesting a specific set of novel genre features that distinguishes this genre form from any other. Such properties of the matrix as the organization, dynamism, stability / variation, programme behavior of the matrix components genre features, which are organized in a matrix in the form field. Derivational-mediated movement of genre features in the space of the genre matrix promotes the appearance of modifications.

The matrix appears in the presentation of the author as an invariant of genre form “the core”, “the grain”, from which in the result of transformation variants appears.

This observation is fundamental for our research, because it authorizes to believe that movement originating from the center to the periphery of the matrix, and then in the genre dominant, are the basis of “life” cycle of the genre as a whole. Movement of individual characters from the center to the periphery or vice versa, during the cross-textual derivation indicates about modification of the matrix and the appearance of new modification, but the essence of the matrix is preserved.

Genre dominant in this context, is being seen to the researcher as the dynamic envelope, a set of “secondary» variability signs forming the genre. In our opinion, the diversion conditioned the movement of dynamic genre features in the outer space of the matrix under the influence of various factors political, moral, socio-cultural, etc.; is the basis of divergence of genre modifications and shapes.

Taking into account the above assumptions M.V. Norets offers the following version of the image process of the genre forming. The original genre matrix, being a static unit (the “core”) is exposed to influence of the various factors: the philosophical (the changes in the perception of world view), moral (as a consequence of changes in the perception of the world picture changes of the internal measure of external events), moral (internal external manifestations of changes of internal measure), social (the processes taking place in society in a historical context), political (geographically not marked paradigmatic changes affecting all sectors of society), historical (factor is a set of all the above, defining a vector of human evolution) [2, p. 40].

These factors, according to scientists, is a catalyst not only transformation in the genre, and their combined effect provides a basis for the emergence of entirely new genres that do not have maternal matrix and, accordingly, without the genetic traits that provide the ability to define their global identity.

Initiating under the influence of these factors, the genre matrix gives message in genre dominant _, “amorphous” shell, genetically predisposed to change, and the transformation taking place in the dynamic membrane, realizing in occurrence of variant modifications of genre a genre varieties. This implementation takes the form of genre varieties. At a time when the “specific weight” of the specific implementation reaches “specific gravity” of maternal genre _ matrix or exceeds it the process of “budding” happens. The result of this process is the appearance of the new genre matrix, the new code, the new set of components forming static “core”. The author argues that there is a new full-fledged genre unit, but the features of genetic similarity with the maternal matrix, can be traced. The processes occurring with the genre matrix and genre dominant are caused by the passage of time, the course of history. This division M.V. Norets compares with cell division in the human body [p. 41].

However, in our opinion, the question of the genetic penetration of the traits of the original matrix in the new matrix remains unsolved. In one case, the author claims that there is a completely “new” genre without maternal matrix and without the genetic traits, in another case, the author points to the possibility to trace the lines of genetic similarity with the maternal matrix. It seems to us that the process of genetic link between the original matrix and a new matrix is similar in meaning to the process of transformation of stem cells of the body into any organ of the body under the influence of certain factors and in certain circumstances. In other words, the direct transfer of the genetic traits from the maternal matrix to the new matrix is impossible, because , according to M.V. Norets “static core” instituting under the influence of external factors, gives promise to an amorphous shell”  not touching the static core of the new shell [p. 41].

Most probably, transmission of genetical information of original matrix occur trough transformed nuclear cells, infiltrated in amorphous shell, slightly changed, but preserved their genetic signs.

In conclusion, cellar model of genre formation proposed by M.V. Norets are the model that describe processes of genre formation in the most precise and transparent way. Moreover, we consider that above mentioned model represents process of genre invariant formation in structure of genre in the most complete way. In such way, proposed by M.V. Norets cellar model of genre formation will be taken as a basis in out research.

It is believed that the genre consists of the genre matrix and the genre dominant . Contained in the genre matrix “core” cells under the influence of external factors fall into mobile, “amorphous” shell, bringing genetic information, which later become the basis of genre options. If a set of mutations in the genre dominant reaches a “critical” mass of the original genre matrix , a genre variant  separates from the original version of the genre dominant , and perhaps begin to function as a separate genre. Particular attention should be paid to the factors that affect the genre structure _, because, in our opinion, exactly the natural course of history defines a set of factors that, in its turn transforms genre modification in the same vector with the historical paradigm.

Thus, the genre matrix of a spy novel is a “maternal” matrix containing the genetic information in the form of “core” cells, which then naturally will reflect in genre dominant of the genre variety of action spy novel.