Interdiscursivity as a linguocreative appropriation of discourses: the avant-garde and Andrey Tarkovsky

The article explores the category of interdiscursivity from a perspective of its realization in films. As a point of departure, the historical ties of the avant-garde and cinema are analyzed in terms of interdiscursivity. Literary and artistic works of the representatives of the Russian avant-garde...

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Autor principal:	Irina V. Zykova
Formato:	article
Lenguaje:	EN RU
Publicado:	Immanuel Kant Baltic Federal University 2021
Materias:	interdiscursivity film discourse linguistic creativity discourse appropriation avant-garde tarkovsky Philology. Linguistics P1-1091
Acceso en línea:	https://doaj.org/article/f1015b413c8e4f269a744615c63e21c0
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id	oai:doaj.org-article:f1015b413c8e4f269a744615c63e21c0
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spelling	oai:doaj.org-article:f1015b413c8e4f269a744615c63e21c02021-11-24T12:19:17ZInterdiscursivity as a linguocreative appropriation of discourses: the avant-garde and Andrey Tarkovsky10.5922/2225-5346-2021-4-42225-53462686-8989https://doaj.org/article/f1015b413c8e4f269a744615c63e21c02021-11-01T00:00:00Zhttps://journals.kantiana.ru/slovo/4956/31225/https://doaj.org/toc/2225-5346https://doaj.org/toc/2686-8989The article explores the category of interdiscursivity from a perspective of its realization in films. As a point of departure, the historical ties of the avant-garde and cinema are analyzed in terms of interdiscursivity. Literary and artistic works of the representatives of the Russian avant-garde are characterized by a number of innovations that are relevant for the understanding of the interdiscursivity in cinematography as art. The established avant-garde foundations of interdiscursivity make it possible to define it as a linguocreative appropriation of discourses and to elaborate a methodology of its study in films. The film “Stalker” is selected as an object of research due to the fact that Andrey Tarkovsky’s innovative cinematic approach makes his works akin to the approaches of art innovators of the avant-garde epoch. The specificity of the interdiscursivity of “Stalker” is determined both by a significant degree of transformation of its literary basis and by a varied appropriation of certain types of discourse in the process of making a film as an original artistic-aesthetic object. Elements of different types of discourse act as linguistic and creative means that influence the heuristic potential of the verbal system of a film.Irina V. ZykovaImmanuel Kant Baltic Federal Universityarticleinterdiscursivityfilm discourselinguistic creativitydiscourse appropriationavant-gardetarkovskyPhilology. LinguisticsP1-1091ENRUСлово.ру: балтийский акцент , Vol 12, Iss 4, Pp 65-85 (2021)
institution	DOAJ
collection	DOAJ
language	EN RU
topic	interdiscursivity film discourse linguistic creativity discourse appropriation avant-garde tarkovsky Philology. Linguistics P1-1091
spellingShingle	interdiscursivity film discourse linguistic creativity discourse appropriation avant-garde tarkovsky Philology. Linguistics P1-1091 Irina V. Zykova Interdiscursivity as a linguocreative appropriation of discourses: the avant-garde and Andrey Tarkovsky
description	The article explores the category of interdiscursivity from a perspective of its realization in films. As a point of departure, the historical ties of the avant-garde and cinema are analyzed in terms of interdiscursivity. Literary and artistic works of the representatives of the Russian avant-garde are characterized by a number of innovations that are relevant for the understanding of the interdiscursivity in cinematography as art. The established avant-garde foundations of interdiscursivity make it possible to define it as a linguocreative appropriation of discourses and to elaborate a methodology of its study in films. The film “Stalker” is selected as an object of research due to the fact that Andrey Tarkovsky’s innovative cinematic approach makes his works akin to the approaches of art innovators of the avant-garde epoch. The specificity of the interdiscursivity of “Stalker” is determined both by a significant degree of transformation of its literary basis and by a varied appropriation of certain types of discourse in the process of making a film as an original artistic-aesthetic object. Elements of different types of discourse act as linguistic and creative means that influence the heuristic potential of the verbal system of a film.
format	article
author	Irina V. Zykova
author_facet	Irina V. Zykova
author_sort	Irina V. Zykova
title	Interdiscursivity as a linguocreative appropriation of discourses: the avant-garde and Andrey Tarkovsky
title_short	Interdiscursivity as a linguocreative appropriation of discourses: the avant-garde and Andrey Tarkovsky
title_full	Interdiscursivity as a linguocreative appropriation of discourses: the avant-garde and Andrey Tarkovsky
title_fullStr	Interdiscursivity as a linguocreative appropriation of discourses: the avant-garde and Andrey Tarkovsky
title_full_unstemmed	Interdiscursivity as a linguocreative appropriation of discourses: the avant-garde and Andrey Tarkovsky
title_sort	interdiscursivity as a linguocreative appropriation of discourses: the avant-garde and andrey tarkovsky
publisher	Immanuel Kant Baltic Federal University
publishDate	2021
url	https://doaj.org/article/f1015b413c8e4f269a744615c63e21c0
work_keys_str_mv	AT irinavzykova interdiscursivityasalinguocreativeappropriationofdiscoursestheavantgardeandandreytarkovsky
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Interdiscursivity as a linguocreative appropriation of discourses: the avant-garde and Andrey Tarkovsky

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