The problem of modeling an ironic narrative in the theoretical aspect has not been widely considered. For the first time in Ukrainian literary theory, the specificity and functional content of the ironic narrative in the aspect of mental specificity and influence on the author's writing, corresponding to a specific artistic direction (here – socialist realism) are analyzed. The object of research is the prose of Stanislaw Dygat (1914 – 1978) - prose writer, screenwriter, literary critic, translator, columnist, director, actor, whose cultural experience fully reproduces and clearly demonstrates the evolution and influence of the frontal ideological platform on the author's writing, demonstrates general features author's style, the main of which is irony. The first part «Theoretical and methodological principles of the study of narrative forms in accordance with the author's style» considers the factors of modeling stylistic features, in particular, in terms of the trope system and principles of narration. It is concluded that the author's style of writing is modeled by semantic-gradational factors of narratives tempo, focalization, «phantom» images, etc.). In this regard, the mentality of this writer is considered separately in the contextual connections with the prose of G. Senkevich, T. Breza, W. Gombrovych, namely in the second section «Ironic narrative in the intertextual parameters of the Polish tradition». In the context of Polish literary practice of the period of socialist realism, the logic of forming an ironic narrative in the oppositional worldview of S. Dygat is considered, which is carried out by parodying G. Senkevich (the novel «Quo vadis» is taken). The conclusions to the section emphasize the two-vector controversy with the exported method, which confirms similar trends in the texts of T. Breza and W. Gombrovych. The third section «The dominant status of irony in the modeling of S. Dygat's literary style» analyzes the influence of the author's ideological intentions (in particular, existentialism is emphasized) on the typology of figurative models of the narrative. In particular, the collection of short stories by the author «Pink Notebook», novels «Farewell», «Journey», «Disneyland» are considered as the most presentable texts in terms of narrative versions of irony as such. The author's model of the ironic narrative expresses itself primarily through the parody of typical images and canonical plots of Polish classics, a clear example of this is the heritage of G. Senkevich. The idiolect of the epoch, «phantom» images, etc. are emphasized. It is proved that at the level of narrative strategies, ironic discourse presents itself through focalization points (according to J. Genette) and a change in the tempo of narration, as well as through intertextual and intermedia interspersed (allusion, quotation, ekphrasis, etc.). The problem of narrative fits into the continuous theory of style, which in particular in S. Dygat expresses itself primarily through the models of topos «home», «church», «family space».
