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UDC 81`42
https://doi.org/10.20339/PhS.6s-22.156
Markova Elena A.,
Candidate of Philology,
Senior Lecturer of the Foreign Languages Department
Peoples’ Friendship University of Russia
e-mail: markova_ea@pfur.ru
This article is devoted to understanding the literary text as a priori transcultural. The research hypothesis is that a true work of art is always created as a “replica in dialogue” with an already existing literary tradition that goes beyond one culture and appeals to the universal aesthetic field. One of the domains containing “capacitors of cultural memory” is the culture of antiquity. Despite the fact that this culture is often impersonal (hence, non-discursive, if we agree with the thesis of N.D. Arutyunova), it still remains a different culture for the author, the basis for borrowing and adapting eternal plots, themes and images. Consequently, transculturation as a process of interpenetration and cooperation of various semiotic codes is carried out. Its marker is the elements of the intertextual order — intexts, allusions, scenarios, plots, paradigms of cultural types. The material of the article was the poems of Louise Glick from the poetry collection “Averno”. The work used descriptive and hermeneutical methods, as well as the method of intertextual analysis. The author of the article comes to the conclusion that Glick’s appeal to the themes of antiquity not only becomes part of her artistic method, but also helps her survive her personal traumatic experience. The lyrical heroine “Averno”, associated with the image of Persephone, is a subject permanently moving between worlds, a subject “out of home”, not belonging to any topos. This is precisely the transcultural subject of the new world.
Keywords: transculturation, intertextuality, intext, plot, narrative, Louise Glick, “Persephone the Wanderer”.
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