INTERTEXTUALITY AS THE STREAM OF THE PAST IN THE ARTISTIC CULTURE OF THE POSTMODERN
UDC index:
008
DOI: 10.31773/2078-1768-2019-46-139-146
Article ID in the RSCI:
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Information about authors: Sinelnikova Olga Vladimirovna, Dr of Art History, Associate Professor, Professor of the Department of Musicology and Applied Musical Arts, Kemerovo State University of Culture (Kemerovo, Russian Federation). E-mail: sinel1@yandex.ru Glushkova Anna Ivanovna, Instructor, Kuznetsk Industrial College (Novokuznetsk, Russian Federation). E-mail: Annxen2007@rambler.ru
Annotation: The article is devoted to the study of intertextuality in the artistic culture of the postmodern era. Intertextuality is considered as a mechanism of borrowing and returning to the symbols and texts of past cultural eras, actualizing and simultaneously updating them today. The aesthetic practice of the postmodern era is very diverse, mosaic and pluralistic, which is confirmed by its difference from previous cultural periods. The integrity and unity of the picture of the world of past historical eras is replaced in the era of postmodern by polyphonic thinking and perception of the world: there is a capture of any practice, categories and elements of any style, direction, any artistic culture of different historical periods. For the modern author, everything is valuable: culture is seen for him on a planetary scale. This article presented and analyzed examples of intertextual prose, the so-called “non-linear” novel, polysensual layers which affect its composition as it becomes variable, fragmented, mosaic games. The authors of the article focus on the novels of Milorad Pavic “Khazar dictionary” and “Seven deadly sins” and Umberto Eco “The name of the rose.” The article draws analogies with the musical composition of the 20-21st centuries, where there are also a variety of intertextual, historical connections with the musical culture of bygone eras and styles. The contemporary author cites synthesizes, elects and combines artistic heritage in search of new content. In this regard, innovation and individual style of the author increasingly extends to the field of form.
Keywords: intertextuality, hypertext, postmodernism, dialogue, reception, citation, artistic culture.
DOI: 10.31773/2078-1768-2019-46-139-146
Article ID in the RSCI:
Article file: Download
Information about authors: Sinelnikova Olga Vladimirovna, Dr of Art History, Associate Professor, Professor of the Department of Musicology and Applied Musical Arts, Kemerovo State University of Culture (Kemerovo, Russian Federation). E-mail: sinel1@yandex.ru Glushkova Anna Ivanovna, Instructor, Kuznetsk Industrial College (Novokuznetsk, Russian Federation). E-mail: Annxen2007@rambler.ru
Annotation: The article is devoted to the study of intertextuality in the artistic culture of the postmodern era. Intertextuality is considered as a mechanism of borrowing and returning to the symbols and texts of past cultural eras, actualizing and simultaneously updating them today. The aesthetic practice of the postmodern era is very diverse, mosaic and pluralistic, which is confirmed by its difference from previous cultural periods. The integrity and unity of the picture of the world of past historical eras is replaced in the era of postmodern by polyphonic thinking and perception of the world: there is a capture of any practice, categories and elements of any style, direction, any artistic culture of different historical periods. For the modern author, everything is valuable: culture is seen for him on a planetary scale. This article presented and analyzed examples of intertextual prose, the so-called “non-linear” novel, polysensual layers which affect its composition as it becomes variable, fragmented, mosaic games. The authors of the article focus on the novels of Milorad Pavic “Khazar dictionary” and “Seven deadly sins” and Umberto Eco “The name of the rose.” The article draws analogies with the musical composition of the 20-21st centuries, where there are also a variety of intertextual, historical connections with the musical culture of bygone eras and styles. The contemporary author cites synthesizes, elects and combines artistic heritage in search of new content. In this regard, innovation and individual style of the author increasingly extends to the field of form.
Keywords: intertextuality, hypertext, postmodernism, dialogue, reception, citation, artistic culture.
