In the thesis an in-depth research of the peculiarities of Petro Karmanskyi’s intertextual poetry is conducted in diachronic and synchronic projections. The notion Intertextual Poetry is defined as a basic concept for Petro Karmanskyi’s writings of fiction and non-fiction. This notion is based on the perceived intertextual strategy.
The work is characterized by several generic aspects of novelty: it is for the first time that the scope of intertextual analysis covers P. Karmanskyi’s all literary oeuvre (both fictional and non-fictional texts); the term "intertextual poetics" is defined for the first time in the Ukrainian literary studies; the author’s intertextual poetry is considered as a field of crossing the artistic senses in diachronic (vertical) and synchronic (horizontal) projections; effectiveness and productivity of this methodology are proved.
The diachronic and synchronic projections of intertextual communications in the author’s oeuvre are apparently projected onto the history of the cultural process of the humanity and the author’s era. They exceed the bounds of literal reference to time and spatial dimensions and include generic abstract aspects of intertextual interaction with different textual structures, as in the case with intermediality.
In the thesis a new classification is developed for the study of P. Karmanskyi’s intertextual poetry in both vertical and horizontal cross-sections. This classification includes different types and subtypes of intertextual interactions. An intertextual contact environment is defined as a type of intertextual communications for the first time.
Large-scale intertexts and proto-texts in P. Karmanskyi’s intertextual field are the Bible, the Greek Mythology, the Roman works of writing, cultural and historical aspects of the Rome Empire and the Ukrainian realities of the early the 20-th century, the oeuvre of Ukrainian and foreign writers, P. Karmanskyi’s own oeuvre, different types of arts (music, art, sculpture, architecture, the theatre).
The addressed intertextuality as a reference to other authors’ fictional texts turns out to be the most vivid example of P. Karmanskyi’s intertextual communications in relation to the synchronic-diachronic projections. The main cross-section of the history and the present times manifest themselves in it as a reference to vertical and horizontal literary contexts.
In the thesis intermediality is considered as the synchronic cross-section of the author’s intertextual poetry. It rests on the internal existence of the arts in the cultural life of the humanity.
The classifications of S. P. Shera and V. Wolf proved to be effective for the analysis of inter-artistic correlations of P. Karmanskyi’s oeuvre with music and the visual types of arts. In the thesis they are complemented by some new aspects. Some separate types of classification such as the word music and following of some separate musical genres are projected onto the formal level of interaction with music (“dramatization” according to V. Wolf), and the verbal music expresses the meaningful (contextual) level (“thematization” according to V. Wolf).
Analysis of intermediality involvement of elements of the visual arts by P. Karmanskyi in his literary works reveals that verbal forms (eсphrasis) and art, sculpture, architecture are the most frequently used forms, the word type is mainly obvious through vividness of the writer’s style, primarily through use of coloristic and landscape images (hypothyposis); projection of the genres of visual arts onto the literary ones are also noticeable in the field of correlations between the literature and the art.
Literary theatrical correlations in P. Karmanskyi’s texts rests on the notion of “theatricality”. Theatricality as one of the main features of the writer’s creative thinking are achieved in three forms: 1) by the use of pseudonyms, 2) through writing of dramatic texts, 3) through implicit-explicit forms of interactionof his poetry and prose texts with the drama.
Auto-intertextuality is considered as a local example of a diachronically intertextual cross-section of P. Karmanskyi’s oeuvre. The diachronic aspect of auto-intertextuality rests on the idea of diachronic writing of the author’s works. Universal auto-intertexts manifest themselves in two aspects: the first one deals with auto-communications, based on borrowings from other writers’ texts. They turn into self-references later on, due to their frequent creative use. The second one determines auto-intertextual elements which are individual for the author.
Key words: P. Karmanskyi, intertextual poetry, synchronic, diachronic, intertextuality, intertext, text, intertextual field, intertextworld, proto-text, meta-text, addressed intertextuality, inter-mediality, auto-intertextuality, quotation, self-reference.
