The expression « a springboard intertextuality» belongs to R. Barthes. It is used in the article
«Textual Analysis of a Novel by E. Poe» when trying to define the concept of «code». In this case, Barthes put a different meaning in the concept of «motive». The article proves that in the
absence of strictly scientific definitions, Barthes differentiated the motive in his intertextual function
(calling it the code) and the motive in his narratologic function (calling it the motive). The
productivity of such differentiation is upheld. On the basis of this terminological distinction, it is
possible to clearly delineate the motive as an impersonal element of the narrative language, which
appears spontaneously in the literature, and the motive as a consciously introduced reference to
the precedent text by the author. Such a reference (code, in the terminology of R. Barthes) can
cause the formation of a conceptual metaphor, repeated in the subsequent literature. In this case,
the motive acts as a pledge of communication between different texts (belonging to different
authors and different epochs), forms a single semantic field. The work of the motive as an
intertextual code is illustrated by an appeal to the character of the functioning in literature of a
repetitive image – the image of building a wall from books. This motive has developed in the
literature of modernism, its authorship belongs to H. Hesse. However, in H. Hesse, he is formed
under the influence of the images of the two previous artists: F. Nietzsche and F. M. Dostoyevsky.
But the status of the motive and the function of the «trampoline intertextuality» this image
gets exactly in the works of H. Hesse. In the novel «The Book Man» he acquires a symbolic content,
turning into a metaphor of the reader's self-destructive detachment from living life. The
analysis leads the author of the article to the conclusion that the objective function of the motive
for building the book wall in this text is to model the author's aesthetic position, his thoughts
about the dramatic relationship between art and life. In the subsequent literature, the image of the
wall from the books will receive repeated actualization – and precisely in the sense that Hesse
asked. Therefore, the text of the German writer is considered in the article as the nucleus of that
semantic field, which forms the reflection of literature on the fate of a book person in the literature
of the twentieth century. Such a reflection is found, for example, in the novels of E. Canetti
«Blinding» and K.-M. Dominguez «Paper House», later developing this motive.
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15 vol.] T. 4. L.: Nauka, 1989. S. 452–550.
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red. i avtor primech. K. A. Svas'jan. In: Nicshe F. Soch.: v 2 t. [Works, in 2 vol.] M.: Mysl', 1990.
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[Elements of Pushkin's novel «The Queen of Spades» in Dostoevsky's work].Philol. Cand.
Diss. Novosibirsk, 2007. 207 p.
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294 p.
Turysheva O. N. Legenda o Velikom inkvizitore v sostave intertekstual'nogo koda kinoteksta
Larsa fon Triera «Dogvill'» [The legend of the Grand Inquisitor as part of the intertextual code of
Lars von Trier's film text «Dogville»]. In: Ural'skiy filologicheskiy vestnik. no 3, 2015. Seriya
«Russkaya klassika: Dinamika khudozhestvennykh form» (Iss. 7) [The Urals Philological Bulletin.
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Vetoshkina G. A. Gamletovskiy kod v intertekstual'nom prostranstve romanov U. Folknera
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