К проблеме интертекстуальности оперы Дж. Верди «Фальстаф»

Abstract

The article examines the spatial-temporal model of culture in Giuseppe Verdi’s opera “Falstaff” in the context of intertextuality – one of the leading scholarly paradigms of contemporary philology in Russia and other countries. The mechanism of intertextuality, endowed with the spatial and temporal attributes ontologically intrinsic to it, actively participates as an artistic principle in the formation of the chronotope of a musical composition. Thereby the depth and scope of the undertaken cultural dialogue is highlighted. The intertextual method of analysis discloses the repetition and representation of a number of archetypes and mythologems realized on various levels of the architectonics of the entire work of art. The extra-musical factors of formation of the chronotope in the verbal, image-bearing and morphological modes are represented by: the eidos of the intersection of history and life with the ideogram of the cross, the mythologem of the World Tree, the myth of Don Juan and the mythological logic of the composition interpreted as the active structure of the musical text, the archetype of the image of the knight, and the archetype of the structure of the classical magic fairy tale. They transform the basic model of the Italian opera of the first half of the 18th century with its stereotypical plots and characters of the opera buffa, and stereotypical dramatic situations endowed with roots in ritual and play. Realizing his cosmological and religious-mythological perceptions with an organic integration of various historical cultural traditions in the genre which is a national emblem, Giuseppe Verdi in his opera “Falstaff” creates an artistic model of the Universe, forestalling a whole spectrum of experiments of 20th century composers. Keywords: space-time, Italian opera, Giuseppe Verdi, Falstaff, the architectonics of opera, intertextuality, mythologem of the World Tree, the myth of Don Juan, the archetype of the image of the knight.