Inner speech as a source of artistic intermediality

The article is devoted to understanding the issues of intermediate interactions in modern art culture, where these processes have acquired increased relevance. The phenomenon of “inner speech”, investigated and described at the time by psychologist L.S. Vygotsky, linguist N.I. Zhinkin, and taken into account by M.M. Bakhtin, is considered as the mental foundation of intermediality. Our inner speech is syncretically connected with our inner vision and inner hearing, since all these spiritual abilities are based on the mental environment of our pre-predicative evidence of various origins (innate, learned, formed in personal experience). Being a kind of “boundary line” between language and thinking, between the unarticulated movement of thought and its embodiment in linguistic expression, inner speech ensures not only mutual understanding between people, but also the relative translatability of artistic meanings from one media language to another. The semantic potential of great works, hidden in the depths of inner speech, is so significant that it inspires the search for its interpretative “further disclosure” in illustrations, dramatizations, film adaptations, and musical compositions based on literary works. However, different media structures can be found both in a relationship of complementarity and mutual resistance. The illustration points to the author’s song and rock poetry, on the one hand, and the so-called “visual poetry”, on the other, in a situation of crisis of book lyrics. The inability to aesthetic creativity of artificial intelligence, which does not have the foundation of internal speech, is noted.