| dc.description.abstract | This article explores the intermedial dialogue of the arts in the oeuvre of British
writer and philosopher Iris Murdoch. The ontology of the phenomenon of art
and its functional meaning in Murdoch’s fiction, the specifics of the relationship
between the arts in her philosophical essays and dialogues are considered from
the perspective of intermediality. Based on the intermedial study methodology,
Murdoch’s theoretical and philosophical views on the multifunctional nature of
art, the interaction of the artist and the artwork are revealed. Key techniques of
interartistic discourse, including anthroponymic allusions, are considered as
intermedial markers of Murdoch’s texts, identified and explored at the level of
imagological transformations. People of art: artists, artistic discourse partakers,
as well as recipients of art constitute a particular kind of characters in Murdoch’s
novels. Accordingly, the importance of the recipient, who acts as an essential link
in the receptive matrix of “author-text-recipient-artwork,” is emphasized in the
ontology of an artwork. The particular meeting point of Murdoch’s characters is
the artistic topos: a museum, an exhibition, an art gallery or an artist’s house. In
addition, the reader of her fiction repeatedly encounters various ekphrastic codes:
the ekphrases of paintings are not only present in Murdoch’s texts, but function
as anthropomorphized characters, dramatis personae, have their own space
(physical and mental places) and play a crucial role in the protagonists’ lives.
Consequently, we find that the use of intermedial components is one of the markers
of Iris Murdoch’s idiostyle, which topicalizes important aspects of the philosophy of
art and brings it into the realm of ontological questions. | uk_UA |
