Intermediality in Donna Tartt’s Novel ‘The Goldfinch’

The article is dedicated to the study of intermedial elements in Donna Tartt's novel The Goldfinch. The analysis of the literary text is preceded by a consideration of approaches to the phenomenon of intermediality and the problem of synthesis of arts as viewed by specialists who belong to the diverse fields of the humanities. The researchers mentioned in the paper have noted examples of the mutual influence of different artistic codes throughout history, despite the traditional view of the ‘monocode’ nature of individual art forms. This aspect is significant in the theory of intermediality. Within the framework of the proposed analysis of Donna Tartt's novel, the greatest attention was paid to the verbal representation of the pictorial code, whereas previously the cinematic features of the text in the process of its film adaptation were emphasized in studies. The paper explores the images of paintings included in the text regarding them as intermedial elements. In addition, the author's own picturesque style is noted, which uses elements of color and light as well as the symbolism of the paintings to deepen the semantic level of the work. This creative method serves to enhance the aesthetic and psychological effects. A particular focus is on the significance of the painting by Carel Fabritius The Goldfinch, which is connected with different levels of the novel. By virtue of this canvas, such motifs as fate, destiny, and the importance of art are brought to the fore. In addition, in connection with the painting, links between characters are organized, and the plot of the work develops and thickens. The facts offered above allow us to talk about the plot-forming and meaning-forming significance of intermedial elements in the text. The analysis leads to a conclusion that intermediality determines the poetics and is found at different levels of Donna Tartt's novel The Goldfinch.