“VISUAL” VERSUS “VERBAL”: INTERMEDIAL PRACTICES IN THE LITERATURE OF MODERNISM AND AVANTGARDE

This article is devoted to the study of the problem of intermediality in the literature of modernism and the avant-garde. Noting the change in the media landscape of the era, the author analyzes the processes of influencing the verbal creativity of visual culture and the creation of new artistic worlds with the participation of painting, icon painting, lubok, photography, cinema and other media. Particular attention is paid to constructive methods involved in the construction of verbal signs under the influence of iconic, as mechanisms of meaningfulness. The interaction of two systems or several transmitting and one receiving system is investigated, as well as the conceptualization of the latter – the imposition of a structure, the attribution of properties, the coding and recoding, the configuration change. The author comes to the conclusion that the intermedial practices in the literature of modernism and avant-garde led to multiple coding of texts and their exclusive information-semantic saturation that corresponded to medial essentialism and the synthetic worldview of the epoch