Eaaino UnxosceKka TEOPETHUHI J[MJIEMH MOHATTA IHTEPMEJUAJIBHOCTI YIIK 82:1 Y crarti npoaHanisosavo nuraHia CTaHosneHHa iHTepMenlanbHocTi, asaemosanexnicrs iitepmeniansHocti i inTepteKcryantsHocti, poarnatyTo iKTepMeniansHicT> NopAR is KpeanizoBaHANMn Texcramm, oGt'pyHToBalHo AoUiinHicTS HanWoaHiA cnosa iTepMenlanbHioth 8 ykpallcbKomy niteparyposhascrsi, npyilinevo ysary suicensknm knacudixauiay. AsTop saaHaNae neaki HeTouHocTi Y EMHMKOHHI A BHSHaYeHHT iuTepMenianHocTi, a'AcoBye Ta yTouHioe Ix npHpOAY. Kniovoei cnoea: istepMeniansHicr, ittepteKctyanbHicTs, MegiaTnsoBaHe cycninscTso, menia, Inrepmeaia, esaemonia wmcreure, IHrepAKCYMNNinapHicTS, KpeonisoBaHi TeKcTA, KIHO, MysHKa, nepcbopatac, tearp, Elina Taykhovska. Theoretical difemmas of intermedialty The article examines the formation of intermediality and the interdependence of intermediality and intertextuality. It also explores intermediality against the backdrop of creolized texts, surveys its numerous classifications and substantiates the relevance of this notion within Ukrainian literary criticism. The author points out some inacouracies in the origin and definition of intermedialty and specifies thelr nature. Key words: intermediality, intertextuality, medialized society, media, intermedia, interrelations of arts, interdisciplinarity, creolized texts, cinema, music, performance, theater. Mepexig sig inchopmauiiinoro cycninbctsa 70 Megiivoro a6o, Kpauye cKasaTn, MegiatusoBaHoro Big6ysca Yepes notpe6y cyY¥acHoT MOaNHN OTOUyBATH ce6e mac-megia, TenexomyHikayiWHumu W MynbTMMegivHumu TexHOnoriamn. Meniiine cycninbets0, 3a BUSHAYeHHAM NoneCEKOrO AOCNigHuKa T. TobaHa- Knaca, xapaktepn3yeTbca TUM, WO Mbkmiogcbka KOMyHikauia Mae 3qe6inbworo NocepegHuybKun xapakTep; ue CycniNbCTBO, B AKOMy Megjia CTBOPIOIWTb CBoEpinHy BiptyanbHy ailicHicts, meniany xynutypy; Ae menilina ixcbpactpyKtypa, soKpema TenekomMyHikauiHa, CTae OCHOBOW ANA ecbekThBHOT AianbHocTI Ta KOHTaKTiB y BCix cebepax KuTTA; B AKOMY GinbulicTs NiogcbKOT AinnbHocTi opraHisoBaka MeiliHo- incbopmauiiHumu TexHonoriamy; incbopmauia Ta sHaHHA BncTynalOT ronoBHAM NPOAYKTHBHUM YMHHUKOM, a CyCHiNbHUA POsBUTOK CNMPAETECA Ha BMKOPMCTAHHA reneixbopmatuxu [17, 46]. T. Banosiy tex Hagae nepeeary “mepiaTnsoBaHomy cycninbety” (“mediated society”) Hag “siptyanbHum cycninecreom” (“virtual society"), ockinbku came ye Tepmix “nepegae igeio cycninbctBa, B AKOMy Tpaqnuinni gil nogcKoi Bsacmopil KoNiIOIOTBCA 3a ENEKTPOHHMM NOCepegHULITBOM, cycnintctB0, B AKOMy TaHOxK Tine”, — 3a cnoBamM gocniguuka, — BepeTbCA B AOBXnHy BipTyaNbHOl pyKu Big Halirnu6umx cbope iHTepcy6'exTuBismy” [40, 190- 191]. Y xutTTi MegiaTMsoBaHoi NoAUHn BigirpaloTb BENUKy pONb ABULA AK DaBHbO! KyNTYpH, TaK | HOBOCTBOPeHHA cyuacHoi, GinbWicTe 3 AKUx 3a CBOE NPUPOAOIO intepmeniiini. Tpagmuizine novatta “asaemonin mucteuTe” (“Gesamtkunstwerk”) aminvnoca 8 1990-x pp. Ha inwe — “inTepmegianbuicr”, Tax camo, AK posnoBciomKeHa “Teopia sninneis” 6yna is yacom BigkopeKtoBava fi 3amireHa Ha “iHTepTeKcTyanbHicTb”. 3 possutkom HOBMXx TexHONorili 3'ABMNOCA GaraTO ABUL, WO He BNucyBanuca B nonstTa “interart / interart relations” (Hanpuknag, nitepatypa i my3uka) i notpe6ysanu inwol Kateropli, qo akof wornn 6 ysiiitw taki chopmu cyyacHoro mucteutea, Ak KOMIK, BigeoKnin, Komn'ioTepHa rpa, peknama, HoBi Mepia TOWO. Takoto rany3s3io ctana inTepmepianbuictb. Tomy, ak. sasHayae M. Bacnnescoka- Xmypa, “geaki gocniguukn BUKOpUCTOByWTb Tepr terart ANA onucy KNaCv4HUX NOGAHAHb XyHOKHIX 3B°ASKIB, HATOMICT iHTepMeaianbHICTb — Ha OKpeCNeHHA HOBUX kynibtypHnx 3B’ a3kia” [41, 25]. j Iraniiicbka gocniquvus M. MyHul y crarri ‘Nitepatypxa ixtepmegianbuicte: ectyn” ropopuTb npo nepexig Big “enoxu TyteXG6epra” go “enoxn intepmegianbHocti”, Cao6o i Yac. 2014 + Nell @ 49“nosHa4eHo! pyxom Bi, MOHOLIEHTPUYHOrO Ao NoniyexTpu4HOrO THny Noriku; <...> norikoro mepexi” [34, 11]. NofiynspHicrb intepmegiansHocti nigTeepmxyerbca i Tum cbaktom, wo i3 2003 p. Moxpeanbeekuit yHipepontet posnovas ny6nixayjitio intepqucuunninapHot nepiognkn “Intermédialités” (“IHTepmegianbHicte”). A. Xeamew nuwe npo cnipichysaHHa B nitepatypHi KomMnapaTuBicTuui TPbOx OCHOBHMX TeHAeHUili, HasMBdioun Tx yMOBHO TpaAMUiZIHOID, iHTepAMCUMNiHAPHOIO Ta KyMbTYPHOW KOMNapaTHBICTHKOWW (came MO OCTaHHbO! BxofATb iHTepMegiiHi ctypiii) [20, 94]. Te, yo nopisHantHe nitepatyposHascTBo cTocyeTbca He sme ccbepn nitepatypu, a i inwmwx ginavHoK niogcpKoro AocBigy, okpecnue we B 1961 p. IT. Pemak: “Komnapatusictuka — Ye BABYEHHA NiTepaTypK Aaneko 3a Mexamn OGHici OKpemoi kpaiy 1 BABYeHHA 3B’AaKiB NOMbK niTepaTypolo 3 OAHOTO GoKy Ta iHWAMM inAHKaMN SHaHb i BipyBaHb, TAKNX Ak MUCTeL\TBO (HaNp. KUBONUC, cKynbNTypa, apxiTeKtypa, my3nuka), cpinocodia, ictopia, coyianbHi HaykW (Hanpuknag nonituka, ekoHomika, coujonoria), Hayka, peniria Touyo 3 Apyroro Goxy” [36, 3]. Igen Gyna nipxonnena GaraTbma focniguuKamn, BHacnigoK Yoro 3’ABUNUCA YUCeNbHi IHTepAUcuMNninapHi AOcnigxKeHHA, NpucBAYeHI aHanisy sge6inbworo y Tpbox HanpsMkax — penauii niTepatypu Ta my3uku, niTepatypu Ta BisyanbHUX MUCTeLITB, NiTepaTypM Ta KiHO. Ha |X Kourpeci mbkHapoguot komnapatusictcexo! acouiayii Y. Baacurain Sanponovysas THNOMOTiO NOrpPaHAYHWX ABMLY, 32 AKOIO Nitepatypa cToiTs Ha BepumHi iepapxi4Hoi CucTemM MucTeyTBa, WO OxoNNWe Bicim BisyanbHux / Bep6aribHMx Tunis cnopiquexocri: 1) sATBOpN MucTeUTBa, AKI WEMAUIe 3MaNLOByIOTb ta ixTepnpeTyloTb onoBigb, akixk npocto intocTpyioTb TeKcT; 2) nitepatypHi TBOpU, B AKMX NomaHO iHAUBiAyanbHi BunagKn MucTeuTBA (eKdpasa Ta Kanirpama (Bildgedicht), 1a siqmity Bin Bipwis npo peui (Dinggedicht)); 3) nitepatypHi TBOPM, WO PeNnpeseHTy!OTb AGO TOYHO BIATBOPIOWTb BUTBOPK MVCTELITBA Pa3OM i3 Bipwamy, 3anvucaHumn B XyfOXKHiii @opmi (30Kpema, GaraTo npuknagie is Tak apaunx cbirypHnx Bipwia); 4) nitepatypHi Taopy, Wo NparHytb AO Hacnipysanun cTunto xuBonucy; 5) nitepatypHi TBOpH, AKI BIQHOCATBCA QO xyMOXKHIX TeXHik (MOHTax, Konak, rpoTeck); 6) nitepatypHi TBOpH, LO CTOCyIOTbCA MUCTeUTBa a6O MuTUiB, AKi NepegGavaioTe CneuianisoBani aHaHHA ai ccpepy icTopil mncTeuTE; 7) cnHonTM4Hi xaHpn (cMmBonu); 8) nitepatypHi TBOpU, LYO MaloTb cninbHy Temy a6o TeMM 3 BATBOPAMM MMcTeLITBa [42, 23]. Tepmik inmepmedianbHicmb Sys cTBOpeHMA 3a aHanoriew 3 NOHATTAM inteptexctyanbuocti. Ockinbkn 6yAb-AKi Mikrekctosi penauil HasuBannca iHTepTeKcTom, To 3aKOHOMIpHO NocTano NMTaHHA: AK HasBaTN penauil Mik pisHHMn ByaMu mucTeUTB. OaKTH4HO NOHATTA “itTepMepianbHocTi” it “itTepteKctyanbHocTi” norpi6ui 6ynuv ANA posMexkyBaHHA Ha BHYTPIWHbO- Ta MbkcemioTH4Hi THNH penaLiA TntaHHA npo Bsaemo3zanexuicth iHTepmegianbHocti i iHTepTeKcTyanbHocTi poas’ssyetboa AocniqHMKamn ro-pisHomy, TaK CAMO AK i KOMNeTEHUiIO LAX NOHATE pospisHstoTb. FONOBHOIO NPUYUHONO € Pi3HOUUTAHHA NOHATTA TeKCTY, Mig AK YacTO posymieTbca Gyfb-ake 3HaKoBe chopmyBaHHa, a Tomy i OG'ekT iHTepTeKCTyanbHOCTi Aeaki HAYKOBLI NOWUPIOITh He NMWWe Ha XYAOXKHIM TEKCT, a i Ha TEKCT AK TAKUM, LO ichye 8 6yAb-AKomy nposytri TaopuocTi. | Toni Hemae nopiny Ha TeKcT nireparypHMit i megiatexcr, a Gyqb-aKnii nitepatypHnii Texct is sanyYeHumu enemeHTamy iHWAX MUCTeLITE POsTNAaeTBCA AK iHTepTeKCT. To cyrti, Aocniquukn yiet npoGnemn ymoBHo nopinatoteca Ha ABi KoHUeNTyanbHi rpynu —“saxgepisciKa” i “MionnepiscbKa” (3a imMeHamn AocniqHuKiB-“nepwonpoxiquis” y Ubomy nutaHhi): Ti, XTO BBarKalOTb IHTepMegianbHICTb YACTMHOW WHPLOrO NOHATTA inTepTekctyanbHocti, i Ti, xTO posMiuyyloTb O6’eKT AOCNIpKeHHA UMx NOHATE BigOKpemneHO OAH BIA OAHOTO. Nepwi NoBTOpioloTh AymKy X. Banpepa [aus.: 45], X. Mnerta (“intepmenianbuicts ak Bug idTeptexctyanbHocti” [auB.: 32, 20]), 50 C2060 i Yac. 2014 * Neil1. Barnepa (inrepmegianbnicts ak “Ha xanb, saveg6anuii, ane ykpa% saxnnanii nigposgin inteptexctyanbHocti” [23, 17] wogo ixtepmegianbHocti AK cknanoBoi idteprexctyanbuHocri. IHwi noginaTs aym«y 10.-E. Mionnepa, poamexopyioun inTeptekctyanbHicTb B inTepaKuiax 3 BepGaNbHMMN TeKCTaMy, a iHTepMegianbHicTb AK penauiT Mix pisHumn menia [30, 83]. SpewTow, B. Bynbc ak npuGivHvK nornagis 10.-E. Mionnepa sapaxosye intepmepianbicte ta inteprexctyanbHict Ao iHTepcemiotH4Hnx dopo [44, 46] i pospisHae yi nonaTTA Tak: iHTepTeKcTyanbHicTb “cTOCyeTbCA BMHATKOBO “romoMeaianbHux” penayii mix Bep6anbHumu TeKcTamu, aGo TeKcTOBuMU cuctemamn” [43, 252], Hatomicts iHtepmenianbHicT anenwe “fo 6yab- KUXx Tpaxcrpeci (nopyweHb) mex nomi Megia Ta AO Toro, WO CTOCyETBCA “reTepomenifHux” penauii Mik pisHAMU CeMiOTHYHMMN KOMNNeKcaMN, abo Mik pisHumu YacTuHamu CemioTH4HOrO Komnnexcy” [43, 252]. Yrim, 3844aiiHo, ichytoTb i Gararo iHuMx BapiakTis iepapxil iHTepmenianbHocTi ii inteptexctyanbHocti. AK 3asHayae C. Maxnina, “ittepmegianbHicTb (Big nar. inter — Tomix, medialis — cepeanHHii) — wnpwe posyminHA Tepmina “itTepreKcT”, KON nouaTTA “TeKcr” posrnapaersca y cBitni nonirnotnsmy” [3, 154]. [lewjo iHakwe, ane Tex y piymuyi Mionnepiscbkux yMoBnBogiB, BACNOBNieTbCA NonbCbKa OCNiIQHMLA |. Kyktiubka: “...l4Teptekctyanbrict’ poaymicTbca AK KOMyHikauia Mbk pisHuMu TekcTaMuM KynbTypy, inTepMegianbHictb ak moxnuBictb icHyBaHHA afantayiiHol Tp B NpocTopi nomi pisHumu megia” [26, 135] Orxe, OYeBUQHO, WO BKpanneHuA TeKCT, AKU sannwaeTbcA B MexAaX OgHoro BuAy MUCTe\TBa, He Moxe HanexKaTH Ccbepi iHTepmemianbHocti, fo AKOI HaATOMICTb BIGHOCUTbCA NOEAHAHHA TeKCTIB PisHUX BUAIB MMCTELITB. Spo3ymino A Te, Lo He KookKHe iHTepMeniie BkpanneHHA Moxe ByTH iHTepTeKcTyanbHicrio. Tomy, Ha Halwy AYMKY, O18 YHAKHEHHS nnyTaHHHY BapTo 6yno 6 npMiAHAT KOHUeNLiIO 10.-E. Mionnepa wogo posmekyBaHHA UMX NOHATb 3a pisHOBUgaMmnu TeKCTiB. Oguak napanenbHo 3 oToToxHeHHAM iHTepMegianbHoct! i inTeprexctyanbHocTi ichylorb iHuli BM3HAYeHHA sBKU iHKOpNopauit 8 nitepatypi. Tak, aBTOpU craTTi “PisHi nigxonn Ao BusHa¥eHHA iHTepTeKcTyanbHocTi”, Aki BABA cee NPUGI4HMKAMA 3aHgepiscbkol rpynu, 3aaHayaloTe: “IHTepTeKcTyanbHuii 3B'A30K BepFanbUNx Ta HeBepGanbHux Tekctia Ha cborogHi BucBiTNIOETECA B pIsHUX TepMiHAX: Kpeonisopaunx Texctis, ixTepmenianbHocTi a6o iHTepcemioTHYHOCTI, BisyanizoBaHoi inteptekctyansHocti abo intepikoni4Hocti” [4, 133]. Tlonsirrs Tak sBaHMx KpeonisoBaHux TeKCTIB HanexuTb pocilicbKum niKrBictam 10. Copokiny ta €. Tapacosy, 3a BASHAYeHHAM KOTpMX, Lie “TeKcTH, dbakTypa AKUX cknapaetecn is Box abo Ginbue HeroMoreHHux YacTuH (BepGanbHo! MoBHOT (MosneHHesol) i HepepGanbHot (uo HanexTb iHaKLIMM 3HaKOBMM CUcTeMaM, avbk npuponHa mosa)” [5, 180-181]. Oke, KpeonizosaHnii TeKcT Tak CaMo, AK i inTepmepianbHictb, mae cnpasy ai cnieBiqHoweHHaM pisHux cemioTM4HMx cucteM, ockinbku CnpuimacTbca AK “cknagHa TekcToBa @opmauia, B AKI BepGanbHi ikoHi4Hi enemeHTH CTBOpIOIWTh OAHe BisyanbHe, CTpyKTypHEe, cMucnoBe i cbyHkyionanbue wine" [1, 17]. SrigHo 3 “Routledge Encyclopedia of Narrative Theory” tepmix “ixtepmepianbHictt” (Him. “intermedialitat’) BUHUK y 1983 p. 3aBgAKM HiMeubKomy Aocniguuky A. Xan3en- Tbowe gna cikcayii pensuii mix nitepatypowo ta BisyanbHumn mucTeuTeamn (i axowoch miporo TaKorx mysuKi) y pociviceKomy cumBonismi [43, 252]. OgnaK HoBaTOpcTso Tepmina A. XaH3eHa-J1boBe He 30BciM Bignosigae aiiicHocti, ockinbKn ABaguATbMa poKaMy paHiwe inTepmegianibHict’ TpafniseTbos B ece “IHTepmenia” (nosHa sepcia “Cunectesia ta mbkBiquytts: inTepmegia”) flika [irrica, opHoro i3 3aCHOBHMKiB apT-rpynn “Onykcyc” (eBponeliceKult pyx 1950-1960-x pp. XX cr): “IHTepMegianbHicTb 3aBKaM Gyna MOxKNMBOIO 3 HaigaBHiWwux YaciB, i xova AeAKi Cao6o i Yac. 2014 + Nell M51NOnynApusaTopy, BUXOQAUH 3 HaliKPALAx NOGAKAH, MOKyTe cnpoGyBaTH Nos6yTHCA Woro AK cbopManbHOrO, a OTK, AK HEMOAHOFO, BIH SANULAETECA MOXKNVBUM 3a GyAb-AKX OGcTaBNH NpM GaxKaHHi noegHaTH ABa a60 GinbWe Megia” [22, 25]. Ao pevi, cnoso “intepmegianbHictL” BuKopuctosyeTbcA B ece HEOAHOpasoBO. Tomy MoxkHa roBoputn pote, wo B A. XaHseHa-JIbose inTepmegianbHicTb NpeseHTopaHa Bnepwle came AK AocnigHuybka napagurma. fo pevi, Hemae opHocraviHocTi woo repwoppyky ece A. Tirtinca: oAHi AocnigHuKi patyioTe Yioro nomBy 1965 p. (ak, Hanpuknaa, T. Bauivenni y kHwKyi “Mepexka. InTepHer ak suTaip mvcreuTaa’, 2008 p.), ane Ginbwicte - 1966 p. 3riqHo 3 npoakanisonaHum Martepianom MoxkHa iliT/ BUCHOBKy, LO ece Cno“aTKy Gyno onyGniKoBaHe y 1966 p. B neplwomy HOMepi Hbto-opKcbKoro iHqbopmauiiHoro GloneTeHA, s3ano4vaTKOBAHOrO camun JI. Tirriticom, nig, Ha3B010 “Something Else Press Newsletter” (vol.1). 3roqom ece Baiiwno AK YacTuHa AO MoHOrpadpil J]. Firrinca “Topv30HTH. Moertnka | Teopia intepmegia” (1984), To intepmepianbuocti Q. rirtivc npuxoguTe, nomivaioun TeHeHullo Toro¥acHX MUTUIB BUXOAMTH 3a Mexi TpaqnuiaHMX TeKcTiB MucTeuTS i BIAWTOBXyWunch Big Tepmiva “idtepmenia", BuHaxin akoro HanexutTb camomy fl. Tirrincy i AKuM BiH NponoHye nosHayaTn “TOUHICIHbKO B Horo cy4acHoMy CeHci, WO6 oKpecnuTn po6oTv, wo KOHWenTyanbHo nepebyBaloTb mi Mepia” [22, 23]. fo intepmegia HanexkaTb BisyanbHa noesia, BisyanbHa My3uiKa, intepmegiina cboTorpacpia, cpinbm, Bigeo, BigeoKninv, mucteuTBo cBitna, TenesisiiHe MucteuTBO, KOMN’ioTepHa aximauia, intepaxtnane Kixo, net art, ronorpadpia, Teatp, Ganet, mynbTuMealiiHa nepdbopmarHBHa BUCTABA TOWO. Ql. Tirrine svacautb nosy ‘iHTepmegla” we is Teopis 1812 p. nucbMeHHMKa- pomantuka C.-T. KonbpigKa. Mpote ye TBepaxKeHHA NoTpeGbye yTOUHeHHA, ockinbkn C.-T. Konbpinxk rpm sraqui uboro cnosa 8 Hapuci “lpo Cnexcepa” y cBoix “SlitepatypHux nocMepTHXx TBOpaX” BUKOPUCTOBYE Hioro B ODMH AK “intermedium’, lo Toro x y AeWO iHWOMy sHaveHHi, Hix srogom 2. Pirritc, a came B ABTeHTH4HOMY. To6to intepmegiym aK nocepegunk: “Hapatnava aneropin Bigpishnetecn Bia micponoril Ak peanbHictb Big CuMBony, Ye 3aranom cnpaByKHin inTepmMeniym MDK niogunoto Ta nepconicbikauielo” [quB.: 12]. BoBcim Heouikysay Bepcilo, WO supisHsereoA Big saranbHonpuiATO! AyMKiA wogo nionepctea 8 ranysi iuTepmMepianbHocti A. Xav3eHa-JIbose, noqae A. foapo B MoHorpadpii “Big Mnatona go Slom'epis: Hapauia Ta AemoHcTpauia y nitepatypi ta kiematorpacbi” (2009). flocniguux Biggae nepwicts y eukopucraHHi Tepmina “intermediality” 10.-E. Mionnepy: “Tepmi ixtepmegianbHictb, a BBaxato, ys ynepwe 3actocopaHuii OpreHom EpxHctom Mionnepom y nisxi 1980-Ti” [16, 203], nocunatouncs Ha ctatTio camoro 10.-E. Mionnepa “Komegia “Top Hat” ta intepmegiantuicts myswyHol Komegil” (1994) [aue.: 34]. Besnepeuno, 10.-E. Mionnep 6ys ogHum is nepwonpoxiquis y TeopetTv3yBaHHi intepmenianbuocti, ane sragani “Aanexi 80-Ti” 6ynu exe nicna 1983 p., Konn Buiiuina y csit npaus A. Xavseva-Fbose [que.: 19], inicna nyOnixauii ece J. lirica B 1965 p. Kpim Toro y Tol camui nepion a6o HaGarato pakiwe 3a possigkn 10.-E. Mionnepa a intepmeniansHocri [ane.: 29, 30] auviuinn npaui T. Aiixepa [aue.: 13], ®.-I, AnbGepemaiiepa [qus.: 7], K. Mpromma [que.: 33] Ta in. Samosro GO NOABU Ha3BU SBUUWa y KPUTMUYI CyYacHoro MuCcTeLTBa, Yomy iH Gyno npucanuexo ece “IHTepmenia” Q. Tirrinca, euxogunn okpemi AocmimKeHHa nitepatypu y B3aeMo3B'A3KAX 3 IHLMMM MUCTeUTBAMM, 10 Toro %K Yi B3AeMOsB'ASKH He Gyn yHidpikopani nig onHHM Tepmiom [qua.: 9; 18; 37]. lHTepmegianbHicTb LBMAKO CTana nonynapHow y cTysisx is cbinbMosHaBcTBa Ta Mac-mepia. Akuyo cnovatky Ye NOHATTA 3acTOCOBYEaNOcA NuWe B AOCNiAYKeHHAX, Uo npoBogUnuica B HimeuanHi, To sroAOM BOHO HaByno MbkHapogHoro pesoHaicy, 52 Cao6o i Yac. 2014 + NellNociawn Hii pisHonpaBHe micye nopag a iHTepteKctyanbHictic. flo peui, aKuyo Bpaxosysatu ¢cbakt nossu npaui J. Tirrivca 3 intepmegianbuocti B 1965 p., To BUXOAUTb, WO 3a YACOBUMU paMKaMu iHTepMegianbHicTb AK TepMiH is BNAaCHUM OOrpyHTYBaHHAM BMHUK Ha pik paxiwe 3a inTepreKctyanbHicts 10. Kpictesoi (Binomo, Wo Tepmix “iHTepreKcTyanbHicTb” AK Heonoriam, CTBOpeHMii LO. KpicTeBoro, npossyyas BoceHn 1966 p. B ii GonoBigi npo Teopyictb M. Baxtika Ha cemixapi P. Bapta Ta ony6nikosauiv HaBechi 1967 p. y cbopmi crarti “Baxtin, cnoBo, pianor i poman’” [awe.: 25]. B ykpaicbkomy nitepatyposHascrsi ichytoTb pisHi HanMcaHHA Camoro TepMiHa: “jHTepMegianbuicTb" Ta “idTepMegiiHicTS". SynuHuMoca Ha NpM4nHaAX NonynsApHocTi Hanucanna “iHTepMepianbHicTb”. Ykpaiticeki gocnigquuku cnupannes Ha pocilicekuii, axrniliceKnii | HiMeubKHit (BianoBigHo, natwHceKMii) BapiaHTM boro CnoBa: “MHTepmegnanbHocT” / intermediality / intermedialitat”, 8 aKux HeaminHolo 3anuwaetbcA OCHOBa — “megia”. A came, 3 ornagy Ha gocnigxKenHa uiel npoGnemu B pociiicbkKomy nitepatyposHascrsi, wo Gepe cai nouatok y 1990-x pp., 4omy nepeBaxkHo cnpuana HaViuMToBaHiwa, Konu ijeTbCA Npo TeopeTMuHi sacaqu inTepMegianbHocri, npaya H. TiuyHivor “8axiqHoeeponevicekuat cumeonism i npvHunu Bsaemopil MucTeUTB: Aocsig iHTepmegiiHoro avanisy" (CN6., 1998). Anrnilicbknii sapiant “intermediality” Tex MICTHTb KOpiHb “media”, a HanucaHHs HasBu ece J]. Firritca “Intermedia” 3 Takum CaMuM KopeHeM Tex He Aae niqcras cymuisatnca B npaBunbHocti BapianTa “intepmegianbHicte”. Bapto spaxosysatw cneundiky HanucaHHA Uboro CnoBa B ykKpalHCbKili MoBi. Etumonoria tepmina “meniym” (sig nar. “medium” — cepeauna, yeHTp, npoMixHnii, nocepeaHMk) nepen6ayae copy MHoxMHM “media” [quB.: 28], a OTXKE, AKIO “media” — ye MHOxKMHa Big OAKMHM “medium’, To cemaHTHKa CnoBa NpMBOAMTb Hac Ao nepexnapy “intermediality” ax “inter” — “mix” ta “media” ak Kinbka “megia”, aK Hiak He ogHe Megia. Y pociicbKiit xe MoBi He NepenGayeHa BigMina iHWOMOBHOrO cnosa “megia”, nogava chopma AKoro OAHakoBa i ANA OAHMHH, i ANA MHOXKMHK. “Benminit TayMavHnii CnoBHIKK cy4acHol ykpaiiceKoT moBu” (2, 655] caiquaTe npo HeBigMiHioBaHicTb Cnosa “megia” A BAKOpUCTaHHA Horo Nuwe y MHOXKUHI. OHak nonpy ui npasnna cboropHiB ykpalHcbkKoMy HanicaHHi icHye TeHAeHUiA BiqMiNIoBaTH ue cnoso (Hanpuknaa, “Texfep ana mei”, K., 2013). Tomy np anantauii tepmina “wuTepmegvanbHocte” / “intermediality’ qo ykpalHcbKoro rpyHTy ana s36epexeHHaA MepeAGayexo! UMM NOHATTAM CeMAHTMKM Moxe 6yTH NPMiHATe HanMcaHHA CnoBa sik “iHTepMegiiHicTb”, WO AKpas Nepefae npousc / ABMLe NOMiK KiNbKOX Megin. Npore, aKwo npvwiHaTn 3a npasuno Tepmix “intepmegifHicte”, Toni inrepmepia Y MHOXKMHI 6yfyTb inTepmesii, WO NPUsB0QNTb AO NnyTaHUHN 3 iHTepMenico AK ApamaTu4num TBopom. One, AopeyHiwum Gyfe HanucaHHA “iHTepMegianbHicTE” (y cBoit Monorpacbii “Tsopuict Meononbga Craceba aK npoctip intepteKcty”, 2011, Mu TakOxk AOTPUMyeMocb BapiaHTa “iHTepMenianbHicTb” [6, 96]), Kepyiounce TMM cbakToM, LUO CnoBo “mepia” He BIQMiHioeTbCA B yKpalHCbKiA MoBi MW yHuKaloNN ninyTaHMHu 3 noHsTTaM “inTepmenii”. Menia He ichyloTb OKpemo OfMH Big OAHOrO, is Yoro BuNNUBae TO cakT, WO BOHM 3acHoBaHi Ha inwux Mejia. [na okpecneHHA 3Ha4eHHA iHTepMefianbHOCTI TpaqvuiiHo BiquTosxyiotsca Bin NoHATTA “Mepia”, WO NexKTb y Horo OCHOBI, 3a TeOpeTM3yBaHHA KOHWeNuii O6upaioun cdpasy M. Maknwexa “megia € nopigomneuHam" (“the medium is the message”), 3aci6 nosigqomneHHa cam cTac nosifomMneHHam, wo, AK gagHa4ae K. Xmeneybun B “EcteTuui ixtepmegianbxocti" (2008), nosHayunoca Ha TpakCcdopmauii xuBoNUcy XX cr., i npwknagom uboro, Ha AYMKy NoNbcbKOrO AOCNIAHMKa, MOXKyTb GyTM KapTHHU K. Maneenua “Yopxun Keagpat Ha Ginomy thi’ (1913) i “Binwi Keagpat Ha Ca060 i Yac. 2014 + Nell = m 53Ginomy thi” (1918) [11, 83]. Big cede moxemo HonoBHTH Yer cemaHTH4HHit pag inioctpauieto ia xnsonmcy"HopsesbKoro excnpecioxicta E. Myka “Bonania” (1893-1910), B aki, Kpim NoBigomneHHa 4Yepes nepekas, NpounTyeTeCA ChHeCTesiA (cnissiquytta). Sasavuaii y npoueci intTepMegianbHocTi MMCTeLITBa POsrNAgaioTbCA B AKOCT! megia. Tak, Ha aymky B. Bonseba, megia oxonmotoT ak TpaAUuiiHi MACTeLITBA, TAK i Hosi cbopmu KomyHikaui, jo He BBIMLUNN a6o We He Aocarnu cratycy “MUcTeLITBa”, okpema Komn'ioTepwzosanni “rineptekct” i “sipTyanbHa peanbHicrs” [44, 36] Il, Ennectpbom He B6auae sigminHoctei Mik Mepia Ta MUCTeLITBOM, OCKiNbK “wucTeuTBO MOxe posrnagatica Ak cknagHa cymiu iXcbopmayii A posBar (utile dulci Topauia), opke, NoBHicTIO NpaBOMipHO BKNIOYaTM CopMM MUCTeLITBA Mix inwux megia” (14, 13]. ¥ ybomy KorTexcri JI. Ennectptom y ctatti “Moganbrocti megia” nponovye Knacudikaito Megia, noginaioun Tx Ha “ocHoshi” (“basic media”), “xpanidikosani” (“qualified media”) i “texniuHi megia” (“technical media”) [14, 12]. lo Toro > HaykoBeUb BpaxoBye TaK aBaHy “MofanbHicTb Mepia’, Aka 6ysac yoTupbox Bugis: “MatepianbHa” (“material modality’), “cencopiantua” (“sensorial modality"), ‘npocroposo-uacosa” ("spatiotemporal modality”) i “cemiotm4na” (“semiotic modality”) [14, 15]. K. Opigman, HasnBaioun “iHTepMegia mucTeuTBOM, Wo nepebyBac Ha Mexi Mik dopmamn ta mepia” [15, 52], aushayae yotupu icTopil possuTky inTepmenia, Tpy Hanpamen i gsi rany3i ana maiGyTHboro cbyHKYioHyBaHHA, 40 Toro > OAHA nepcnekrupa — y HanpaMKy KOHUenuil Ta cbinocodil, apyra — y BUCOKOMy TexHi4HOMy Bnnuei nimivanbHvx npoctopie, Aki nPM3BOAAT AO HOBMX MUCTeLIbKMx cbopM [15, 60]. Yearani intepmegianbHictb BusHayaloTb No-pisHoMy, a 4 BOAHOYAC OAHOCTAMHO ujogo ii cytHocti: B. Bynbd ak ogun is cbyHaaropis iHTepmeaiwHux AocnigxKeHb npeseHtye iHTepmepianbHicTb AK “y4acTb GinbWe Hik OMHOrO Mepia BMpaKeHHs B SHAUeHHA MiogcbKoro apredary” [44, 4]. ©. Yennn HY. KeteHOent sasHayaloTh, lo “iHTepmepianbHum e€ npoctip, ge Mex! rom'akwWeHi—i wn nepe6yBaemo nomi i Bcepenwni amiuianux npocTopis, Menia Ta peanbHocTeli" [10, 12]. Buxogsun is BnacHol knacudikauit menia, J. Ennectppom nue, wo “intepmMegianbHicTWO € AK aGcTpakTHi BIqHOCHHY Mik OcHOBHUMH | KBanicbiKoBaHumn Megia, Tak i 3B’A3KM NOMiK Hun Ta ocobnuaocti KOHKpeTHUX posit, nepcopmancie i menianponyKuil” [14, 30] Kpim Toro, wo ixtepmMegianbHicTt noTpeGye apryMeHTauiil Wogo BiqMexkyBaHHa IT Big iuTepreKctyanbHocti, }O. Fepkmax nopisHice ixTepmenianbHicTh is meqiasMiHaMn, Oincbawt gocnigHuK Tpaktye iT AK “CoujanbHi Ta KynbTypHi BsaemosanexHocTi, B AKUX pi3Hi Mefia NOEAHYIOTbCA 3B’ASKAMM Ta BMKOPMCTOByKOTb BnacTuBocTi nui ogoro" [24, 11-12]. Bin posrnagae intepmenianbuicte ak nocniqHMybKnia nigxig, BusHayaioun iT 3a pisHumMu KpuTepisaMu, a CaMe — OCHOBHE 3HayeHHA Tepmina: 38’aaKn Mik pishmmu menia; TpagnuiiHe nigrpyHta: ryMabitapHi HayKn, Mepia- Ta nitepatypHi cTyail; Teopetu4Ha OcHoBa: TeKcTyanbHa Teopia, Teopia MUCTeUTBa; COLANbHMii KOHTeKCT: 3MiHa KyNbTYPHUX opm Ta iHcTUTYUI; 3B’ASOK 3 TexHonoriamn: kynbtypHa opicHtayia Ta AeTepMiHism; MegiasMiva: eBoniouia, nop’asavicTb; Meaia B MaiiOyTHbomy: pisHi Menia, ane ix Baaemo3B’AsKK OyAyTb nepecopmynbosaki [21, 17]. Buokpemmoioun megiakoHBepreHuiio AK HalinonynspHiWui TepMiH 4nA onucy Megiasmix, 10. Tepkmax posrnanae ii nopag 3 intepmepianbHictio 1 posBoAUTb Ui nOHATTA TaK: “Y Tol Yac, KONM NPUNYLWeHHA KOHBepreHuil YacTo AKYeHTYE HEAONIKM Ta BiacyTHictb 6esnepepsxocri mk crapuM i HOBMM, KOHWeNT inTepMegianbHoCTI Tpuainae Ginse yearn uinicHocti megiacchepy Ta a’eqHaHHio A nepeuneHyBaHHio Mepia yepes aMiHM 8 CouianbHMx i KyMbTYpHUX KOHTeKCTAaX” [21, 12]. Won THnonoriii iHTepmMepianbHocTi, To oAHa 3 NepwMx — Ye cxema B. Bonbtha, KoTpa nponoxye nogin Ha “sigkputy / npamy” (“overt / direct”) i “npuxosany / 54 Cao6o i Lac. 2014 + NellHenpamy” (“covert/ indirect”) Ti cbopnm [qoKnagHiwe qup.: 44; 37-48, 50). “Biaxpura” cbopma nepeaGayae sanyyeHHA KinbKOx Meqia, npuknagom uoro, sa B. Bonbhom, © CMHTeTMUHI 2KAHpU (TeaTpanbHa BucTaBa, 3ByKOBMi dinbM, nicHA, onepa), actapkn inoctpaulili a6o HOTHMXx dparmeHTis y nitepatypHMit TeKcr. “MpuxoBaHa” cbopma intepmegiantHocti nepegGauae, HaTomicTb, megiliny TpaHcchopmauito, To6To He 6ykBanbHe BHKOpucTaHHA MaTepiany iHWoro BUAY MUCTeLITBAa, & jioro nepeknag MoBOIO “MeniagominaHTH”. | nepeKnay Mowe MaTH gBi copM excnniyntHy — “onosiganua” (“telling”) a6o “tematnsauia” (“thematization") Ta imnniqutiy —“imirayis” (“showing’, “imitation”). Bapri yearn 4oTHpH BapiaHTH posyminiia iuTepMenianbHocTi B OAHOMMeHHIA craTTi “Uotmpn mogeni ittepMegiansHocTi” €. lpborepa: 1) cabTeTHuna inTepMepianbHicT> (synthetic intermediality) npononye igeto interpauil pisHux Megia y BarHepiBcbKuih Gesamtkunstwerk (cuHTe3 mucTeuTB) 3 noniTH4HOIo KOHOTAayiElO; Ki Mogeni intepmenianbHocti Bnactusi TpM dbakTopu: sacy@xKeHHA “MoHOMeRIA” aK chopM coujanbHoro 4 ecTeTHYHOrO BIA4y>KeHHA; YiTKe pOsMexXYBAHHA Mbk iHTepMegia Ta asmiwaxi Menia; pesoniouiiive i yronivne crasnerins Ao Tpiymcby Hag MoHOMegia AK CoUianbHOro BUSBOMeHHA CTOCOBHO NOBEPHeHHA MoGanbunx Tunis exsvcTeHuin [39, 46]; 2) cbopmanbua, a6o Tpancmeniitia intepmegianbHicTb (formal or transmedial intermediality) no6ynoBania Ha KoHYeNuii, WO cbopmanbHi cTpykTypm (HapaTHBHi cTpykTypu) He € cneuMidHUMU ANA OKpemoro Megia, a MOxkyTb GyTu BiQHaijeHi B pisHvx Mepia Tak Gamo, AK nigq 4ac NopiBHAHHA onoeigHo! peanisauil cinemy Ta pomany; 3) TpaHccbopmauiviva (transformational intermediality) poarnagae cuTyauii penpesentauil opHoro Megia Yepes iHWHii, NepeHeceHHA 3 OAHOT sHaKOBOT cuctemn B inwy; BaknuBa cbopma, OCKiNbKM BUSHAYeHHA Megia sanexuTb Bin TxHIX intepmegiinux penpesextaui, Tpanccbopmauilina inTepMegianbHicTb € 3BOPOTHOIO cTOpoHoio oHTONoriNHOi Momeni; 4) oxToNori4Ha iHTepMegianbHicTe (ontological intermediality) nepeaGavae ichysaHka megia B nocTilinili penauil go iHWMx Mepia, To6TO HaABHICTb CninbHUx puc y pisHux Megia (HanpuKnag, My3MKanbHicTb noesii, TeaTpanbHiCcTb Nposn). Kpim suwesasHayenux Tunonorid, ofHieto 3 HainonynapHiwnx BBaxKaeTECA sanponoHosana B AocnimxKeHHi “IHTepMegianbHictb, inTepTeKcTyanbHicTb Ta pexynbtneauia: nitepatypHa nepenextusa iHTepMepianbHocti” HiMeubKOl gocniquuui |. PacacbKoi, Ae intepMenianbHicTb noctae y Tpbox nigkateropiax. Ho nepwoi astopka BigHocuTs Tak sBaHi “mepiini nepemiueHHa” (“medial transposition”) (Hanpuknaa, expavisauia, Genetpusauia): igeTbcA npo Te, AK Megianpogykr ytinoeTboa B GytTA, TOTO npo Tpakcthopmauito menianpoaykty (excty, binbmy) aGo Horo cy6ctpary B iHWwMi Megia. Lia kaTeropia opicHToBaHa Ha BMPOGHMUTBO, TO6TO “reHeTM4Ha” KOHUeNuia iHTepmegianbHocti, “opurivanbHui” Texct, dinbm © “fpKepenom” HOBOCTBOpeHOro MeAlaNponyKTy. yTBOPeHHA AKOFO 3ACHOBAHO Ha MegiacneynciuHomy Ta o6os’AsKoBoMy iHTepMediiiHomy npoueci Tpakccopmauil. Dpyrua eva intepmegianbHocti - “megiakomGixauia” (“media combination”) oxonnwe Taki ABvWa, AK Onepa, cbinbM, TeaTp, cnekTakni, intoctpoBaHi pykonucn, Komm'toTepHi a6o Sound Art iHctanauiT, Komikcu ToLYo, abo, aMkOpMcToByIONN IHW Tepmivonorito — Tak 3BaHi mynbTHMepla, sMiWaxi Megia Ta iHTepmepia. La KaTeropia BUSHAYaeTECA MepiliHOlo rpynot, Wo chopmye TaKvii MegianpopyKT, AKMit CBIAYUTb po Hacnigok aGo npouec 06'eqHAHHA WOHaMeHie "BOX yMOBHO pisHMx Megia. Ui asa mepia aGo mepiacopmn 3'eqHaHHA ichyloTe y CBOi nnowuni i cnpmaoTS noGygosi Ta sHayeHHIO YinbHOrO NpopyKty B/ixHbOMy BMacHoMy cneyndi4Homy cnoco6i. Orxe, ans ulel kateropil intepmepianbHicth © KOMyHikaTUBHO-CeMiOTH4HAM KOHLENTOM, 3aCHOBaHMM Ha KOMGIHaLIT NPUHAMMH! ABOX NoeAHAHUX Mepiacbopm. Cycinctso 80x a6o Ginbue matepianbHux BnaBie pisHux Megia B “peanbHili” C2060 i Yac. 2014 * Ne1T ad mo55interpauii He crane npuBineem xogHOrO a ii ycTaHoB4ux enemeHTia. Konyenuia, ckakimo, onepw aGo cbinbmy"AK oKpemux >KaHpiB POGUTb OYEBUAHUM Te, LO NOeAHAHHA pisHux MepiliHMx CbopM suneHysaHHA MOXKe NPUBeCTM oO yTBOPeHHA HOBUX, HE3ANExkHUX XyAOKHIX a60 MepiaxKaHpiB, Ae copmyBaHHA %aHpoBMx 6aratomemiiHux OCHOB cTae Moro cneundikoro. 3 ictopuyHol nepenektuBu UA kateropia inTepmefianbHocTi’yeupasHie ANHaMi4Hi eBOMOUIAHI Npouecn, WO ix A. Xavicen-Siboze (1983) onucye Ak winicbysaHHA 71 HOBOCTBOPEHHA. Tperiti sun — ye intepmeqinini nocunanua (“intermedial references”), Hanpuknaa, y xyoxHbomy TexcTi Ha cbinbM Yepes BTINeHHA a6o imiTauio NeBHUX cinbMOBUX TexHik, 30KpeMa, MaKpOsHoMky, TiHi, Hannue i MOHTax. IHWwi MpuKnagn BMiLyyHOTe Tak say My3nkanisayiio nitepatypu, tpakcdbopmauiio mucteytea, excbpasy, mocunaHus y dbinbmi Ha *xMBONUC a60 B xKMBONUCi Ha cpoTorpadpilo TOWIO. IHTepMegiiHi nocMnaHHA BapTo posyMiTv AK HeBiA’eMHi Bi 3HAYEHHA CTpaTerii, LO CnpustoTb 3aranbHOMy BU3HAYeHHiO MefianpogyKTy, KOTPMiA BAKOpUcTOByeE BnacHi, cneundisHi ana megia, 3aco6u uu To cTocyeTbca cneundivHol, inguBigyanbHot po6otu, cTBopexoi B iHwomy Mepia (TOOTO Te, WO B HiMeUbKi Tpaquuil HasMBaeTECA Einzelreferenz, “inqupigyanbue nocnnanua”), a6o cneyndiunol megiiHoT nigcuctemu (Hanpuknag, nesHoro xKaHpy cbinbmy), iHworo Megia qua cuctemn (Systemreferenz, “cuctemHi nocvunaHHa”). OTe, Yel NpomyKT YacTKOBO aGo NosHicTio noB’AsaHun is Cuctemoto aGo NigcucTemoN, AO AKoi BIH HanexuTb. ¥ Ui kateropil, ak yke B MegiakomGiHauil, iHTepMefianbHicTb NosHayae KOMYyHikaTMBHO- CeMiOTHYHY KOHUENUil0, ane TyT Lie, 3a BASHAYeHHAM, TINBKU OAUH Meia — TOM, WO nochnaeroes (Ha BiAMiny Big Mesia, Ha AKMi NocunaloTBcA), TOTO MaTepianbHo npucythili. Samicr’ Toro, wo6 noegHysaru pisHi mepiini chopmn sunenysarHsi, uel meaianpogykt TemaTnaye, BuKnuKae a6o iMitye eneMeHTM 4M CTPyKTypH iHWOro, YMOBHO OKpeMoro, Meplia 3a paxyHOK BMKOPMCTAHHA BNacHMX cneuMciMHVX Megiasacobie [35, 51]. Sqe6inbworo HasBHi Knacndpikauii HatuacTiwe noginswTe IHTepmMepianbHicTb Ha OcHOBi saco6y noeAHaHHA abo nepesegeHHaA meail, soKpema, X. JlyHa posmexkosye TpM BupM inTepMeniAHUx penauit: KOMGiHayiIo, inTerpayiio Ta TpaHctbopmauiio. KomGixauil cknagatorbea is s8aeMHMX nocnnab | SMiWysaHHA. Bgaemni nocunanna cbopmytoTb imoctpauil, emGnematuka, o6pas i Hasea, mysnka Ta Hasaa, cboTopenoprax, imiocrposana KHwKka, aMilLyBAHHA — peknama, nowToBi mapkn, nich, Biqeo, Komikc, onepa, nitypria, nnakar. flo interpauit HanexaTe dirypHi Bipwi, seykoBa noesia, kHuronpykyBaHHA, nikTorpaMu, KOHWeNnTyanbHe MucTeuTBo, Menopeknamauis, Bisyanisosanui ancbasir, ikoHiunicts, Biayanisopani BepSanbui Haku. [lo Tpanccbopmauii sapaxoBaHo BepSanbHy Ta My3sMuHy ekcppasy, nporpamoey mysuky, poMaH Ha nigctasi cdinbmy Ta cdbinbM Ha nigctasi pomaky, TeaTpanizayiio TeKcty, iKOHi4Hy NpoeKuilo, BepGanbHy iHTepnpeTauito My3nKn (27, 10-14, 21]. K.5. CxceH Buokpemmice B KOMYHIKaWIAHHX AOCNIgXeHHAX TAKOX THU KOHUWeNUIT intepMegianbuocti. SriqHo 3 nepwolo “inTepmegianbHicTs — Ye noeAHaHHA A agantauia oxpemvx mamepianbHux saco6ie nogaHHa i BiATBOpeHHA, aKy iKopi Ha3MBawTb mynbmuMedia, npo Wo cBIQuUTb 3ByKO-i-cnaig-woy abo ay; BigeokaHann TeneGayeHHA”; Apyrow — “TepMiH NosHaYae 3B'ASOK OApasy Yepes kinbka CeHCOpHUX MofanbHocTes, HanpuKnan, My3MKu ti pyxomux s06paxKeH”, TpeTboto — “iHTepMegianbHicTb cTocyeTbcs B3aeMmo03B'A3KiB MbK Megia AK IHCTUTYTAX y cycninsctai, nepeaGayeva B TexHonori4HHx Ta eKOHOMIMHMX TepMiHaXx, 30KpeMa, kKOHBepreHuil Ta KOHroMepati” [24, 2385-2387]. K. Banme nogae Tp thyma4eHua intepmegianbHocti. Nepwe ctocyeTbca “TpaHcnosuuli npeaMeTa” 3 ofHOro Megiyma Qo iHwWoro”, Apyre nepeq6ayae intepmegianbHictb ak “cneyndi4ny dbopmy inTepTekctyanbHocTi”, TpeTe — AK 56 Caobo i Yac. 2014 + Nell“BIQTEOpeHHA eCTeTMYHUX TpAgMUii” OHOTO KOHKpeTHOrO MepiyMa B Mexkax 30BCiM inworo” (8, 154-156]. SaranbHoBigomo, wo cepeg penayid nitepatypu 3 iHWMMM MucTeLTBaMA 3B’AS0K Nitepatypy fi MysuKu HaligaBHiwui, ane anepwie Horo OGrpyHtyBaB K.C. BpayH y npauji “Mysuka i nitepatypa. Mopisuauia mucteuts” (Acbinu, 1948), Ae BuoKpemus YoTUpN cchepn 3B'A3KiB NiTepaTypu Ta MySHKM: cninbHi enemeHTA (puTm), Bunagku cnisichyBanHa (onepa, BOKaNbHa Mysvka), BNNMBM My3UKM Ha niteparypy (penerwuia, Bapiauia, cbopmu myamuni B nitepatypi — cbyra A mysv4ria cumBonika), a Takox BnnMBu niTepatypH Ha Mysuky (nporpamHa mysuKa). C.M. Wep ganponouysas Tpiany OCHOBHUX MOXNMBUX MY3M4HO-NiTepaTypHUX penal, a came: “my3vkn i nitepatypu” (BoKanbHa my3suka), “mysuku B niteparypi” (BepbanbHa ysnka) i “nitepatypm B mysnui” (nporpamva My3vka) [AMB. noBHy cxemy: 38, 192]. 3rofom KoHYenuio C.M. Wepa e398 3a OCHOBy BMsHAYANbHUXx chopM My3H4HO- nitepatypHoi intepmeniantxocti B. Bynbcb, sapaxoaytoun go eiaKpuToi / npamoi intepMegianbHocri penauito “my3uKa Ta nitepatypa”, a a0 npuxoBaHot / Henpamoi intepmegianbocti — “nitepatypy B mysmui” Ta “Myauky B nirepatypi” [aoKnagHiwe ave.: 44, 70]. B o6roaopeshi intepmegiiHux penauili “nitepatypa-kivo” BapTo apaxoaysaru, wo kinematorpad is Horo byHkuioKyBaHHAM Ha CyMileHHi aygioBisyantHoro pray 3a CBOeI NPUpoAO!O iHTepmenidHNi aaci6. A. Tonpo BBaxKac iHTepmenianbHicTe HeOOXigHMM KOHUeNTOM BUBYeHHA i posyMiHHA paHHbOro KiHemaTorpatpa, ockinbkn BiH Gys, Ha oro AYMKy, NPOAYKTOM Toro, WO AOcMIAHNK HasnBac “intepmenivHoio mepexeio” [16, 156]. Oinbm, incniposanni nitepatypolo ii Teatpom, € idTepmegiinum BuTBOpoM, Ak i Gygb-AKUM chinbM, AKUYO Ha HbOro annunynu ini mepia, a ixnii annus Hesanepeunui. Ha pos'acHeHHa A. Toapo, “cnouatky cbaxTu4Ho KiHematorpad Oys HacTisibkn inTepmegiAHMM, WYO Le Haein’ He Gye Kinematorpac” (16, 156], ockinbku yactuna KiHo 6yna TeatpanbHolo, iHWwa — chororpacbi4How, we inwa — cknafanaca 3 MaHapiBoK. Intepmenianbuicts y TeaTpi Ta nepcopmaxci BuBYacTbCA y Npausx, cami Hagev AKVX FOBOPATb Npo acnekTn ananisy: “Winax Cpava: Bigeo Ta TeaTp AK intepmegiina nnardopma ana penpesextauil vacy” 3. Mepkc, “Lindpoga onepa: idTepmenianbHicto, pexynbtusauia Ta oceita” ©. Venn, “Hesapepwieva Megiaui foctaHoska iHTepMegianbHocti 8 cyYacHomy TaHulosanbHomy nepmopmanci T.-M. Boeniw, “Tamnert Ta BiptyanbHa cueHa: npoekT TepGepta Opitya ramnet_x” B. Baiinc, “Teatp ak mucteytso BuKOHaBUA Ta CYeHa iHTepmenianbHocTi” U, KetH6ent, “AkTop ak iHtepmegiarop: pekynbTwBauia, npucsoeHHA, aganTauia” P. Pemwapat ta ik. Teatp i nepcbopmaHe cbyHKuioHyloTb NOMbk MUCTeLTBOM, Nonitnkol0, Haykolo Ta dbinococieio. Ak sasHayaioTs O. Yenn Ta Y. KetHGent, y XXI cr. “intepMegianbHicre” yon BigTsopioeTbcA B nepcopmalci: Ye NoBcaKeHHAN %KUTTEBUA AOcBIA peanbHocTi” [10, 24], i cama inTepmegianbHicTs HavGinbw signosigae Mewkakusm noctiiHoro nepcbopmancy XXI ct. Onke, ypaxosyiouu iHTepgucuunninapHui xapaktep Ginbwocti cyyacHux Rocnigxkenb, intepmegianbHicT crana HeOGxigHuM mepmiHoM ANA TxHboro Toganbworo cbyHkuioKysanHa B nitepatypi. Aymka npo Te, Wo HemMae xopHOT @BTOHOMHO! AMCUNNIHN, BIZOKPeEMNeHO! NOBHICTIO OpHa Bin OAHO!, BUXOAUTb is Toro, lo y XXI cr. 6yf\b-AKUiA KIHYeBHA NpoaAyKT CTae cMHTesOM GaraTbox yosigoMneHUXx NelitMoTuais | Heycsigomnenux apxetunia. Lia miwauvna nepeaGavae nowyk Ta igentucbikayiio nepwioocHos, Wo i € 3aBNaHHAM inTepMeniliHoro aHanisy. lntepmMegianbHicTh posBuBaeTbCA pa3om i3 NOHATTAMM “BsaemoniA mucteuts”, “excpasa”, “cunectesia”, “cyrectia” i Garatema iHWMMM; Ue PO3MUBaHHA Mex TeKCTY AO HETEKCTYANbHMX NNOWMH, CTBOPeHHA TeKcTy no3a Horo MexKamu A BOAHOYAC Nomix Horo nporanun. B intepmMesianbHocTi Caobo i Yac. 2014 + Nell m@ 57B3aeMOMil0Th CNoBo Ta O6pas, sanyyaeTbCA ABOKOMNOHEHTHICTb BisyanbHOrO i axyctw4Horo. a Ypaxopyioun reeay inteptekctyanbHocri, 3a ako1o B. Bynb¢p ineHtncpixye Ti 3 2omomeniiHumu penauiamn, a intepMegianbHictb is 2emepo-, MoOkHa NPOAOB KUTA cemaHTM4Hiii pag CXeMaTH3yBaHHAM iHTepTeKCTy (opmymo10 “a + Gesniy TaKux, aK a", a intepmegia — “a + Geshu inwmx”. AITEPATYPA fh 1, Avucusoéa E. Awsrmucruna Texera « MeKKYAWTYpHAN KOMNYMMKAUHN (Ha MaTepHAAC KPEOAHsoBAMULIX ‘Texcros).— M.: Axaaennx, 2003. — 128 c. 2. Beauxuii taynausilt caosunk cyaacuot yxpaiucskol moss / Yeaaa, i roros. pea B.T. 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