INTERMEDIAL COORDINATES OF ARTISTIC MODELING OF TRAUMATIC PAST IN M. BUBAK’S NOVEL “ALDER BLOOD”

Abstract

The article examines the intermedial coordinates of the artistic modeling of traumatic past in the novel
“Alder Blood” by the famous artist M. Babak.
Theoretical and methodological basis of the research is the work on the theory of intermediality (A. A. Hansen-Leo, V. Wolf, J. Muller, I. Raievskyi, S. Matsenko, V. Prosalova, I. Ilchuk). Since we are talking about the semantic and communicative potential of visual images in the structure of the work, we take into account the works of semiotics, whose representatives (R. Bart, W. Eco, C. Pearce) began to decipher, interpret cultural codes of visual images. In the artistic world of the novel “Alder blood” the codes of literature and fine arts, digital art interact.
Neo-Expressionism, Trans-Avant-garde author’s techniques reveals excessive emotionality, metaphorical, fragmentary, “curly” verbal text. The visual plan of the novel, apart from the verbal “picture”, the font expressiveness of the text, the presence of fragments that associated with methods of creation of visual
poetry, is characterized by the insertion into the artistic structure of the work of photo collages, graphic sketches. In the novel photography not only represents the past. Black and white rural photography, scanned, processed with the help of a technical photo editor, transformed into a collage element, complemented
with new meanings, turned into a work of digital art, means of comprehension and socio-political critique of important social and aesthetic issues.
The novel “Alder blood” with its genre and stylistic peculiarities is closer to the art-book, that combining in one work verbal and visual art. Modeling traumatic past in intermedial coordinates (media combination), the author makes an act not personal, but also national auto-therapy.