INTERMEDIALITY CODES IN «A BALLAD FOR GEORG HENIG» BY VICTOR PASKOV

Abstract

The article is dedicated to the study of the functioning of different types of ekphrasis in "A Ballad for Georg Henig" written by the Bulgarian writer of the second half of the twentieth century Viktor Paskov. Intermediality as a form of interconnectedness of different types of art is challenging for literature and intermedial approach is the main research method used in the article. The aim is to study the interaction of verbal and audio (music), verbal and visual (coloristic and architectural models) arts in the literary text - "A Ballad for Georg Henig" (the object of research). The subject is the codes of intermediality that are revealed not only at the level of the musical ekphrasis. The scientific novelty of the research contributes to the functioning of the features of "urboekphrasis", "oikoekphrasis", "picture-ekphrasis", fantastic images depicting the threshold situation of the "ekphrastic transition" in the work by Viktor Paskov. Results of the research. Having determined the correlation of the concepts "intertextuality", "intermediality", "ekphrasis", we concluded that "A Ballad for Georg Henig" has all three variants of interaction. The study outlines the intertextual connections with the work of J. Goethe "Der Erlkönig". It is determined that the music artefact permeates the text at all levels of its structure and enables to consider it as an ekphrasis (musical ekphrasis). Practical significance: our article contributes to the pool of research works on the intermedial studies, analysing the work by Viktor Paskov that has not been done before and provokes to further scientific challenges.