Intermediacy of the Poetry of Vasyl Holoborodko

Olena Kytcan


The article deals with the study of intermedial analysis media of the interaction peculiarities of different art forms, namely: literal, musical, and plastic in the works of a famous Ukrainian poet Vasyl Holoborodko. This paper showed that intermedialization is not only not in the opposition to verse libre, but also is another facet of its freedom, as well as a free choice for the sake of attainment of the deepest esthetic impression. Intermedialization of the poetry of V. Holoborodko makes oneself evident not merely on a notional level, but also on a strucural one. The title is oftentimes a signal that orientates the reader on the musical beginning of a verse. To mark the genre names for his verse libres the author borrows a sufficient layer of terms from others kinds of art (e.g. a symphony, a song, a nocturne, a suite, a fugue etc.) which enables us to characterize a verse libre as a special kind of a contact zone. Special attention has been paid to the verse libres that contain the name of traditional, sometimes even standard from the point of view of lyric verse versification: “Ballada” (The Ballad), “Pisenka”(“The song”), “Romans” (“The Romance”) as a title or a sub-title. The key method that makes the effect of musicality in a non-rhymed work possible is a split-level repetition: anaphor, refrain, parallelism, and alliteration. It is demonstrated that the appeal to other art forms in the titles is available in the upper layer of intermedial parallels, whereas on the deepest layers musical realm is condensed in the area of lexical meanings, musical work depiction, usage of musical terminology, the names of composers and their works. Engagement into literatureof other kinds of art is caused by the questioning of the new opportunities for expression, as well as a creative experiment.


allusions; verse libre; ekphrasis; titles; intermedial; music; syncretism; artistic synthesis; poetry; V. Holoborodko.


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Pytannia literaturoznavstva
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