У статті обґрунтовані методологічні принципи, на яких вибудовується аналіз інтертекстуальності
як важливого чинника употужнення енергетичної наснаженості вірша Василя Голобородька “Кривий
танець”. У розгляді цього твору визначено введені в текст інтертекстуальні складники – зображення
“Кривого танцю”, алюзії з народної пісні “Ой на горі та й женці жнуть…” і “Слова о полку Ігоревім”.
Зроблено висновок, що привнесені зі знакових творів “чужі слова” та притаманні їм значення
істотно збагачують авторський текст, підсилюючи його енергією додаткових змістових нюансів.
The theoretical part of the paper outlines methodological principles applied within the analysis of
intertextuality as a factor of artistic energy in Vasyl Holoborodko’s poem “A Curved Dance”. For this
purpose, the necessary comments on intertextuality as a source of artistic energy have been made.
The author of the paper shows the difference between systematic and structuralistic understanding of
a literary work, and considers the actual problems of the systematic theory which defines ‘technique’
as a main unit of the expressive system (poetics). In this case the identification of the techniques is
supported by the analysis of their expressive functions. The receptive poetics as a methodological
doctrine is based on this perspective, the essence of which is modeling the infl uence of the expressive
techniques of a literary work on the recipient in terms of the psychology of artistic perception.
The poem “A Curved Dance” have been analyzed as a complete, systematically organized text
that begins to function in the process of the perception, generating a quite complete artistic world in
the recipient’s mind. The artistic character of the poem is determined by many factors, but the most
important of them is the main meaning, generated by the literary text, which may be defined as a dream
about the perfect, full-fl edged existence of the Ukrainian nation. The whole expressive system of the
literary work contributes to creating it, while the dominant role is played by intertextual ‘implants’ in the
author’s text, brought from some notable works, namely the image of the curved dance (intermedial
moment), reminiscences from the folk song “Oy tam na hori zhentsi zhnut” (“Oh there on the hill
harvestmen reap the harvest”) and “Slovo o polku Ihorevim” (“The Tale of Ihor’s Campaign”). They
express the meaningful senses that substantially enrich the author’s text from the perspective of the
psychology of artistic perception, giving it a hidden meaning, and therefore energy.
