EROTIC NATURE OF INTERTEXTUALITY IN YURI ANDRUKHOVYCH’S NOVELS OF THE 1990'S – 2000'S

Abstract

Despite a large number of literary, philosophical and cultural studies on intertextuality, this feature of postmodernism is still a relevant artistic phenomenon, and therefore requires research, discussion and actualization, in particular because the postmodern period is gradually fading, and thus there is a need for its reevaluating or even rethinking. In particular, the work under consideration focuses on the erotic nature of postmodern intertextuality in the early works of Yuri Andrukhovych. The novels of the 1990s and 2000s were chosen for the study, in which the classical model of intertextuality developed by such well-known founders of postmodernism as Julia Kristeva, Roland Barthes, Gerard Jennet, etc. is most clearly manifested. The analysis of intertextual models in the aspect of eroticism is relevant due to the fact that today the postmodern presumption of total textuality is inextricably linked to hypersexuality, enjoyment of civilization and its products, which replaces dissatisfaction with it in the modern era. This idea is implied in the novels "Recreation" (1992), "Perversion" (1996) and "Twelve Rings" (2003). The authors argue the universal nature of intertextuality in Y. Andrukhovych’s novels, emphasizing that his intertextual inclusions (in particular, in "Perversion") are much broader than the literary context and contain examples of musical, cultural and philosophical intertext not to mention various allusions and quotes from well-known literary works. On the other hand, the emphasis on intertext as one of the main principles of writing a modern novel about love makes it possible to interpret the novels under discussion as a specific space of texteplaisir/ texte-jouissance (mostly in "Recreation" and "Twelve Rings"). It means that readers (along with the author-postmodernist) not only enjoy the text in the traditional sense (interesting plot, simple composition, clear ending, which justifies the reader's expectations), but also experience a sense of complete demiurgic pleasure – especially from how intricately the author's fiction and successful intertextual play are intertwined in the text.