The dissertation focuses on the study of lingual manifestations of intermediality in the English literary texts of the XX–XXI centuries that envisages the analysis of intermediality as a textual category revealed by means of heterogeneous language means.
Given the assumption that a literary text is a multidimensional verbal unity, comprising a complicated system of codes, the research applies a cognitive-semiotic approach to the analysis of intermediality.
Intermediality is defined as a textual category – a constitutive feature of contemporary Anglophone literary texts of XX–XXI centuries, which generalizes the result of synthesis, merging and interaction of arts and their media in a literary text, and is actualized in the literary text by multilevel language (verbal, figurative and narrative) means organized into a relative in-text integrity, being, at the same time, a product of cognition and aesthetically directed thinking of the writer as representative of a certain epoch.
In view of such interpretation of intermediality as a textual category and its linguistic manifestations in literary texts, it is modeled from cognitively-semiotic perspective in ontological, cognitive and semiotic dimensions interrelated.
The ontological dimension of intermediality comprises the reality environment and human being as part of it, receiving knowledge through sensory channels (visual, audio, taste, tactile, olfactory forms of perception). The data obtained through such sensory media, generalized in the form of correlated sensory codes, form a cognitive dimension of intermediality, resigning to mental structures resulting from conceptualization and categorization of the world (concept ART), as well as acquiring artistic understanding and interpretation in various aesthetic forms. The semiotic dimension of intermediality embraces the variety of artistic media, applied by various arts that are related to the sensory media and are based on them, embodying the result of the artistic activity (painting, sculpture, musical piece, installation, etc.), each of them having particular code system.
Marked with the help of language signals in the structure of the text as its constitutive property and finding manifestation in its semantic-structural and semantic-narrative aspects, intermediality is actualized through various types of coding with the help of verbal, imagistic-symbolic and narrative means. Their systematization revealed the dominant tendencies in the interpretation of art forms, as well as the implementation of the category of intermediality in the narrative. These tendencies in the textual representation of intermediality include the dominant actualization of the narrative patterns of «semiotization», «naturalization», «constructing» / «deconstructing», accompanied at the cognitive level by the activation of the corresponding conceptual means (PIECE OF ART IS A CODE, PIECE OF ART IS A NATURAL PHENOMENON / LIVING BEING , etc.).
This approach revealed the multidimensional specificity of intermediality in literary texts, taking into account its verbal and narrative-semiotic levels, as well as identifying the interrelation of code structures of literary text with the complex of mental structures relevant to the artistic interpretation of art synthesis.
