Intertextual discourse in V. Vynnychenko's dramas

Abstract

The article analyzes V. Vynnychenko's dramas in terms of the use of such intertextual elements as historical, literary, Biblical allusions, precedent names; the autointertextuality which is realized by self-citation and autointerpretations of identical concepts in various plots; the importance of understanding the emotional and aesthetic context of the work through the study of intertextuality categories is proved.

Echoes in V. Vynnychenko's dramas are revealed both on the plot-compositional levels, and on the figurative and linguistic levels. Therefore, the article identifies the categories of intertextuality and interprets their content in V. Vynnychenko's dramas.

Markers of V. Vynnychenko's works are the understanding of freedom of moral and ethical choice and responsibility for it, deep external and internal conflicts, dissociation of personality, borderline situations at the ideological, political and domestic levels, love triangles, etc., i.e. the existential field of human existence.

It was found that the category of intertextuality in the works of the author is presented as historical allusions (mention of events, places, or persons who semantically clarify the content of the work, perform an expressive function), literary allusions (works, lines, episodes, characters of these works), Biblical allusions, precedent names – the mention of famous figures, whose appearance or activity is correlated with the character, self-citation. In many works of the studied writer the autointertextuality is pervasive, which testifies to the symbolic biography of V. Vynnychenko consciously constructed in his works.

It is proved that the study of the category of intertextuality in V. Vynnychenko's dramas is an important element of understanding the linguistic and stylistic features of the texts, irrational understanding of the writer's creative idea. Autointertextuality, which is realized through self-citation and self-interpretation, as well as literary, historical, Biblical allusions, precedent names generate the emotional and aesthetic context of the works.