Journal articles on the topic 'Medea (Greek mythology) in opera'

Literature relies heavily on mythology. Myths are stories of deities, monsters or immortals which are transformed from one generation to the other. In addition to documenting the religious and cultural experiences of a specific community, myths also outline the consequent literary, artistic and dramatic customs. Some Greek myths have survived for thousands of years because they accurately depict historical events, cultural values, and trends. Among the most famous classical myths are the myths of Medusa and Medea. As for the myth of Medusa, the earliest known record was found in Theogony (700BC) by Hesiod (8 th-7th century BC). A later version of the Medusa myth was made by the Roman poet Ovid (43BC –17/18AD), in his “Metamorphoses” (3-8 AD). Then again, Medea is a tragedy produced in 431 BC by the Greek playwright Euripides(480–406BC) based on the myth of Jason and Medea. Both Medusa and Medea are among the most fascinating and complex female protagonists in Greek mythology which have captivated many writers and playwrights for ages. In the twentieth century, there were many adaptations of both mythological figures; among these adaptations were those made by contemporary American and Irish women playwrights like Carol Lashof (1956-) and Marinna Carr (1964-). This paper examines the myths of Medusa and Medea and analyses the ways these myths are borrowed, refashioned and exploited in Lashof’s Medusa’s Tale (1991) and Carr’s By the Bog of Cats (1998). Both playwrights explore hidden dimensions of the traditional myths, combining elements from the old and modern worlds.

Medea is a representative female image in ancient Greek mythology. Her experience reflects the rise in feminist consciousness, and her image portrays the strong and unrepressed desire in Greek traditional culture. Medea illustrates her constant pursuit of a romantic relationship, and within her unrestrained character lays a lasting spirit. Medea's feminist consciousness is constantly awakened and developed and has experienced stages of awakening to expansion with the change in her relationship. Facing the betrayal of love, her brutal nature breaks out. In the later period, the "devil" side of her nature appears. She begins to question what was originally regarded as life, using wisdom to fight against power and expressing a shocking resistance to "love" and dignity. Medea has become a model figure in ancient women's struggle for freedom and her revenge signifies the awakening of feminist consciousness.

The 19th-century reinterpretations of Hellenic myths serve as an effective tool for discussing the female experience of exclusion and inclusion. Medea, one of the most notorious heroines of Greek mythology, recurrently permeated the Victorians’ consciousness, both in poetry and the visual arts. Traditionally, she is perceived as a filicide perpetrator, a femme fatale or a fallen woman. However, 19th-century British women poets represented Medea in a more subversive way. The present article explores how the mid-Victorian poet Augusta Webster (18371894) reimagines Medea as a woman confronting personal trauma. This article offers a detailed analysis of the poem, taking into account the psychological manifestations of traumatized sensibility and Medea’s strategies in describing her predicament. Webster’s Victorian reworking of Medea provides an intriguing literary portrayal of a traumatic response to marital breakdown, alienation, and filicide.

This study deals with the selected female characters from Greek Mythology. The selected female characters are analysed according to the trope Women in Refrigerator. Descriptive qualitative analysis has been employed in this study. The following female characters analysed in this study are Medea, Medusa, Arethusa, Andromeda, Danaë, Daphne, Eurydice, Antigone, Helen, and Cassandra. The aforementioned characters possess the trait of a fridged woman trope. These women have been, in one way, or another, killed, abused, and or depowered to serve the character of a male protagonist thereby reducing their characters as a plot device leaving no room for character development. This study is beneficial to enthusiasts of literature specifically the following: students, educators, and future researchers. This research will help readers to view female characters under the spotlight of the trope, Women in Refrigerator. The researcher suggests that authors be made aware of the aforementioned trope so that they do not compose their characters in this manner.

Greek mythology (myth about the Argonauts) have made character of Medea of Colchis the indivisible part of world cultural heritage. For centuries character of Medea has maintained its significance and comprised source of inspiration for the representatives of various spheres of fine arts.[1] Of course, regarding the contexts of the epochs (conceptual and esthetic position) and author’s intent, some motifs of the Argonauts’ myth and character of the woman of Colchis have been changing. In this respect, novel „Megi, Georgian Girl“ by Georgian modernist writer, Grigol Robakidze is of interest. Text, first published in 1932 in Germany[2] was translated into Georgian in 2012 and it is not properly studied till now.

Lack of insight into Greek antiquity, more specifically the nature of classical tragedy and mythology, could be one reason for the negative reception of Benjamin Britten’s last opera Death in Venice. In the first place, this article considers Britten’s opera based on Thomas Mann’s novella as a manifestation of classical tragedy. Secondly, it is shown how mythological characters in Mann’s novella represent abstract ideas2 in Britten’s opera, thereby enhancing the dramatic impact of the opera considerably. On the one hand it is shown how the artist’s inner conflict manifests itself in a dialectic relationship between discipline and inspirat ion in Plato’s Phaedrus dialogue that forms the basis of Aschenbach’s monologue at the end of the opera. The conflict between Aschenbach’s rational consciousness and his irrational subconscious, on the other hand, is depicted by means of mythological figures, Apollo and Dionysus. Two focal points in the opera, namely the Games of Apollo at the end of Act 1 and the nightmare scene which forms the climax of the opera in Act 2, are used to illustrate the musical manifestation of this conflict.

The figure of Medea is indeed one of the most enigmatic and problematic characters of Greek mythology. In Euripides’ Medea, the problem becomes acute because it is not merely a vengeful character that the reader comes across, but a woman who in order to avenge her husband’s betrayal, chooses to kill her own children. And in traditional patriarchal society that is certainly not acceptable. In the recent past, Medea’s actions have presented her as a cruel hearted murderess, a passionate woman bent on revenge, a mortal woman emerging as a goddess through her actions, and even as one of the first feminists to have uttered vengeance against man’s unfair treatment of women. While this paper looks at all those interpretations, it also attempts to analyze and interpret the riddle of Medea from other perspectives. Drawing on the historical background of the Asian sorceress, this paper aims to present Medea as a lost voice of matriarchy that retaliates against the father’s rule that denies a mother to have any hold over her children. In the process, the woman may lose her most precious possessions, she may also be deemed as a monster, but she also just might regain her honor and esteem.

It is one thing to find Medea compelling, another to make her art, let alone funerary art. This article faces this complexity head on by examining Medea's visual identity within a sepulchral context. It interrogates her presence on Roman sarcophagi of the mid to late second century CE. The corpus is not insubstantial—nine intact relief panels plus further fragmentary pieces offer ample testament to Medea's presence in the funerary context. Beyond this sphere, Medea's emotionally charged legacy needs no introduction, and her characterisation—outsider, avenger, semi-divine sorceress, victim and murderer—is fleshed out by her capacity to fascinate and repel. Modern scholarship fans the flames, as she remains a popular subject for scholars of Latin and Greek literature, mythology and gender studies.In contrast, Medea's visual sphere of interest has attracted less in-depth attention. Recent studies have acknowledged the implications of her presence on pots and in freestanding sculpture, and most notably, wall painting is beginning to receive careful treatment. Yet art-historians have been more reluctant to confront Medea within the enclosed and predisposed funerary context. Traditional approaches to mythological sarcophagi more generally have favoured consolado as the dominant mode of commemoration, in which empathy and pothos are paramount and protagonists like Adonis and Endymion seen as positive exempla worthy of analogy and assimilation. The deceased is elevated by association with these figures (an association which is often underlined by the use of a portrait head) and the bereaved reassured by the implied interaction of mundane and heroic, mortal and divine. In this way, desire becomes a gloss for grief and loss is translated as yearning.

Abstract Romanian composers’ interest in Greek mythology begins with Enescu’s peerless masterpiece – lyrical tragedy Oedipe (1921-1931). The realist-postromantic artistic concept is materialised in the insoluble link between text and music, in the original synthesis of the most expressive compositional means recorded in the tradition of the genre and the openness towards acutely modern elements of musical language. The Romanian opera composed in the knowledge of George Enescu’s score, which premiered in Bucharest in 1958, reflect an additional interest in mythological subject-matter in the poetic form of the ancient tragedies signed by Euripides, Aeschylus and Sophocles. Significant Romanian musical works written in the avant-garde period of 1960 to 1980 – Doru Popovici’s opera Prometeu, Aurel Stroe’s Oedipus at Colonus, Oresteia I – Agamemnon, Oresteia II – The Choephori, Oresteia III – The Eumenides, Pascal Bentoiu’s The Sacrifice of Iphigenia – to which titles of the contemporary art of the stage are added – Cornel Ţăranu’s Oreste & Oedip – propose new philosophical and artistic interpretations of the original myths. At the same time, the mentioned works represent reference points of the multiple and radical transformation of the opera genre in Romanian culture. Emphasising the epic character, a heightened chamber dimension and the alternative extrapolation of the elements in the syncretic complex, developing new modes of performance, of sonic and video transmission – are features of the new style of opera associated to the powerful and simple subject-matter of ancient tragedy. In this sense, radio opera The Sacrifice of Iphigenia (1968) is a significant step in the metamorphosis of the genre, its novel artistic value being confirmed by an important international distinction offered to composer Pascal Bentoiu – Prix Italia of the Italian Radio and Television Broadcasting Company in Rome. The poetic quality of the text quoted from the masterpiece of ancient theatre, Euripides’ Iphigenia in Aulis, the hymnic-oratory character of the music, the economy and expressive capacity of the compositional means configured in the relationship between voice, organ, percussion, electro-acoustic means – can be associated in interpreting the universal major theme: the necessity of virgin sacrifice in the process of durable construction.

In the two famous Indian epics the Ramayana and the Mahabharata, there are five admirable women - Ahalya, Draupadi, Kunti, Tara and Mandodari. These are five special women with remarkable power, wisdom, dedication, and sacrifice which are honoured across periods of the Indian civilisation. Similarly, in Greek mythology also, there are important powerful women characters having exceptional capacity and power. They are Helen, Hecuba, Medea and Thetis. They have not only portrayed their sexuality and motherhood but also demonstrated their power, virtues, kindness, grace and capacity to withstand crisis. In this paper, we take a look at the five women from the famous Hindu epics, the Ramayana and the Mahabharata and attempt a comparison of some aspects of their lives with important women characters from the legendary Greek epics, Iliad and Odyssey. In the study of these interesting, dynamic and complex women characters we have found that the customs and norms of those societies dominated by patriarchy have immensely affected their lives. However, it will be grossly unfair to treat them as women only. Their lives were affected by brave, power hungry warriors on one hand but on the other hand all these women have emerged as political entities involved in the intricacies of war from behind and not merely as the observers of incidents of wars. These characters have enjoyed much more power than one may perceive from these epics. This vindicates that it is the power that mattered more than gender notwithstanding the fact that patriarchy remained as an influential force in the society.

This article attempts to present a reading of Ulitskaya’s novel as a metatext of world culture, as an encrypted message through which the author inveigles “a shrewd reader” into the guessing of discourses (from ancient mythology to works of social realism and postmodernism) in order to detect traces of the initial scenarios proposed to humanity by the Creator. The conceptual basis of the work was the myth of Sophia Wisdom Divine, an artist painting the primary blueprint of the universe and inviting other artists to co-create (the muse and the artist). Ulitskaya’s Sophiology is based on the ideas of the Russian modernists, e.g., Soloviev and Block.The Greek story of Medea—the daughter of King Aeëtes of Colchis and wife of Jason, who headed the expedition of the Argonauts—provides the basic structure of the novel. This myth is one of the most popular in the world among artists. Its interpretive options (from Euripides and Ovid to Anouilh, Pasolini and Petrushevskaya) are evidence for the unity of the text of culture. The novel, then—the ironical statement of the author to enter into the circle of the elect, the family of Medea, whose image is highlighted by signs of Sofia—is the embodiment of style. Medea’s manor is “the navel of the earth” in which the outlines of the Masons are traced; here, time and space, living and dead, sinners and saints converge. The earth itself is read like a book.All the characters are divided into puppets—unable to understand the hidden meaning of the text—and directors/demiurges—artists, musicians, and doctors who write the history of dolls. The typology of female images is constructed on the gender stereotypes of the fin de siècle era: the woman as a sexual object (Gypsy, wanton); femme fatale/vamp (Amazonian, Salomé); and the romantic lover and muse (Madonna, the eternal feminine). The functions of the male characters are associated with Orpheus, Perseus, Pygmalion, and Ulysses, who perform their feats in the name of Beauty. The mission of the reader is to pass the initiation of the plot and guess all its variations with the power of letters resembling dragon’s teeth, to detect in these traces of meaning the “Golden Fleece,” much as Medea who led Jason to such a purpose.

The article is devoted to the analysis of allusion as an element of intertextuality, which plays an important role in the text - making of Russian and Ukrainian fantasy texts. Scientific investigations are analyzed, in which there are definitions of allusion as a stylistic figure and stylistic reception, hint and indirect reference. The origin of allusion as borrowing of a pretext, and also its semantic-compositional role in expression of constructive intertextuality (according to N. Fateeva) is characterized. It is determined that allusions, according to A. Tyutenko, work to increase the content. The own definition of the concept of allusion as a dual (verbal-non-verbal) means of actualizing the cultural and historical memory of the reader is proposed. The duality of allusion is that it can be intertextual or intermedia, with reference to the fine and audiovisual arts (including cinema, opera, ballet), music, and so on. The cognitive-suggestive function of allusion is important. In addition, the question of distinguishing between the concepts of "precedent phenomenon" and "allusion" arises. In our study, allusions may contain precedent phenomena - names, names, situations, etc .; but allusion is a broader concept because it is a hint, and a hint does not necessarily contain specific onyms. On the other hand, the precedent phenomenon is not always an allusion in the literal sense of the word, it can be a quotation or just a reference to a well-known fact, such as dictionary definitions. Allusion as an intertextual element appears on the verge of combining two contexts - the source, from which the author chooses the element he needs, and the new, newly created. Very often allusive vocations work as analogies, comparisons of the new and the well-known. However, the vast majority of allusions used in fantasy are built on the use of precedent phenomena - universal-precedent or national-precedent. Culturological (religious, mythological, fairy-tale) allusions were analyzed on the basis of a total of 570 fragments (17% of the total number of intertextual elements selected from the source base (3341.)). in the table, exceeds 570 due to the fact that certain varieties overlap: artionyms can be a variety of fairy tales and a variety of literary, intermedia, as well as anthroponyms, poetonyms, etc. We did not distinguish between attributed and non-attributed allusions, the reason is small the number of attributed allusions in fantasy works. Examples from the works of Volodymyr Arenev, Darya Korniy, Niki Kallen, Max Frei and other Ukrainian-speaking and Russian-speaking writers are given. We came to the conclusion that mythological references are convenient to divide by cultural source: Aztec, East (Tibet), Greek culture, Egypt, China, Scandinavian mythology and Slavic. It should be noted that references to Slavic mythology are the most common in Ukrainian fantasy, while in Russian they are almost non-existent. Religious allusions are more part of the recipient's permanent intertextual field, which allows for the creation of intertextual connections with the religious context (sacred texts, material artifacts), as well as to enrich the arsenal of magical elements in fantasy discourse. Folklore allusions are part of a group of ideological allusions - folklore vocations to folk art reflect the people's ideas about the world around them, so they contain mythonyms, theonyms, etc., and are closely related to magical discourse through the involvement of mythonyms, theonyms, names to denote chimerical creatures and other signs of the fantastic.

Background. The knowledge about R. Wagner has now acquired the status of a significant component of not only music, but also philosophy, cultural studies, literary studies, and in studies the authors address to the intonation-conceptual and philosophical foundations of the artistic concepts of the German composer. Such universality has a basis in the substantial depths of Wagner’ works, which are the embodiment of myth-making, the conceptual ideas of Gesamtkunstwerk and Kunstreligion. Objectives. The purpose of the research is to determine the scientific basis for the implementation of the theory of communication as determinants of the analysis of the creative process by R. Wagner through the prism of the heuristic quest of the genius composer and the inclusion of his achievements in the continuum of culture. Methods. In knowledge about R. Wagner methodological importance have the works of the famous scientist M. Cherkashyna-Gubarenko. The researcher examines the conceptual foundations of R. Wagner’s work: finds the influence of the German composer on the artistic formation of S. Prokofiev, reveals in the works by R. Wagner evangelical motifs, the Faustian model, which is a reflection of the archetypes, the problem of the embodiment of his works in the Opera house of today. Significant representative of knowledge about R. Wagner, the author of the doctoral thesis, the focus of which is the Opera the «Flying Dutchman» is E. Roschenko. Analyzing the embodiment of mythology in the musical art, scientist addressed to the conceptual foundations of the artistic practice of the great mythmaker R. Wagner. Great importance in the understanding of cognitive and communicative activity of Wagner plays familiarization with his euristic quest, which was carried out through the study of the music and book editions. Materials about the libraries of Wagner transferred to the archive of the Kharkiv Wagner society by M. Eger in the form of manuscript. The results of his research contribute to the expansion of ideas about Wagner’s universalism, which, in turn, allows us to hunting the principle of the composer – Gesamtkunstwerk – as not only a union of music, poetry and dance, but comprehensive intellectual and spiritual synthesis. Results. In science, there are many approaches to the study of communication. This publication highlights the scientific provisions that are methodologically important in the study of the process of communicative and creative process of the artist. The roots of the theory of communication reach antiquity. Therefore, first of all addressing to them, correlating philosophical reflections of ancient Greek thinkers with scientific and philosophical thought regarding the understanding of these processes in subsequent eras from the perspective of the chosen discourse of the proposed research. The dialectical method of Socrates, justified by Plato, involves the acquisition of true knowledge through reasoning in the form of questions and answers that can be carried out in conversation with the interlocutor or with yourself, in the process of knowledge or self-knowledge. R. Wagner was reflectional artist, a sage who came to know themselves in unity with the being of the world, the idea is constantly addressing the question of the meaning of human existence and finding it on various options of response. The metaplot of his works delineates reflections on the imperfection of mortal existence, eternal desire for freedom and immortality. R. Wagner’s reflections are related to philosophical reasons of thinkers, but they are expressed in terms of the artistic concept of the work, where the composer reveals his own philosophical beliefs, placing the characters in the realities of ontological reality. Therefore, we can conclude that the infinite knowledge and self-knowledge of the German master is expressed in the form of artistic and philosophical reflection. Wagner’s creative work gradually reveals its depths through its inclusion in the public consciousness, where it finds a lot of interpretative readings; carried out by directors and performers, music lovers and opera audience, reviewers and researchers. The texts of the works of the German genius are in the focus of the interpreters active attention in the conditions of the modern Director’s Opera house, where they appear as an initial source, prompting the search and actualization of deep meanings, which is facilitated by the artistic and conceptual content of these works. Creativity of R. Wagner is included in the communicative and creative process, which is carried out in a dialogue in the big time (concept by M. Bakhtin). In turn, the German genius acted in this process not only as a communicator, but also as a comunicant, as evidenced, in particular, by the reflection recorded on the pages of his publications (an appeal to humanity and at the same time an imaginary conversation with outstanding personalities of the past and present). Conclusions. Consideration of R. Wagner’s creative work and thought through the prism of artistic and philosophical reflection, allows us to interpret dialogue as an endless search for truth, which takes its multiplicity, despite the composer’s desire to find episteme knowledge. Texts by R. Wagner are the embodiment of the author’s picture of the world, which reflects the conceptual ideas of the composer, included in the dialogue in the big time. The tracking of the semantic content of a literary text often generates new meanings, since this process is subjective, which bears the imprint of the interpretation’s perception. In the creative work of R. Wagner, there is an operation with symbols that means by composer as a «significant game», during which there is a comprehension of archetypal information and the generation on its basis of new meanings that arise as a result of knowledge through myth. The author sees the prospect of further research in the present consideration of R. Wagner’s creative work from the standpoint of the theory of communication, covering the level of social existence of the composer and onto-communication in his operas – display of ontological processes of the Universe.

Այս առասպելում Այետես արքայի և նրա դուստր Մեդեայի կերպարները և անունները համեմատելի են հնդկական Յայատիի և նրա դուստր Մադհավիի և իռլանդական Էոխայդի և նրա դուստր Մեդբի առասպելների հետ, որոնք հնդեվրոպական համատեքստում մանրամասն ուսումնասիրել է Ժորժ Դյումեզիլը։ Այան՝ այն երկիրը, որտեղ նավարկում են արգոնավորդները, ակնհայտորեն առասպելական՝ կախարդական մի թագավորություն է, երանելի անդրաշխարհ, որը միայն հետագայում է նույնացվել Կոլխիդայի հետ: Հնագույն Կոլխիդան գտնվում էր հետագա Կոլխիդայի հարավ-արևմուտքում, այն տարածքներում, որտեղ մ.թ.ա. XIV-XIII դդ. եղել է խեթական աղբյուրների Հայասայի թագավորությունը։ Այսինքն՝ առասպելական Այան նույնացվել է պատմական Հայասայի հետ։ В этом мифе образы царя Ээта и его дочери Медеи сопоставимы с об-разами Яяти и его дочери Мадхави индийской и Эохаида и его дочери Медб ирландской мифологии, подробно изученной в индоевропейском контексте Жоржем Дюмезилем. Айа – страна, куда плывут аргонавты, очевидно, мифологическое волшебное царство, блаженный потусторонний мир, позже отождествляемый с Колхидой. Древнейшая Колхида располагалась на юго-западе позднейшей Колхиды, на территориях, где в XIV-XIII вв. до н.э. находилось царство Хайаса хеттских источников. Это дает основание считать, что мифическая Айа отождествлялась с исторической Хайасой. In the Greek myth on Argonauts the images of King Aeetes and his daughter Medea are comparable with the images of Yayati and his daughter Madhavi of Indian and Eochaid and his daughter Medb of Irish mythologies, studied in details in the context of Indo-European mythology by Georges Dumézil. Aia, the country where the Argonauts sail, is obviously a mythological magical kingdom, a blissful otherworld, later identified with Colchis. Ancient Colchis was located in the south-west of the later Colchis, in the territories, where in the 14th-13th centuries BC the kingdom of Hayasa of Hittite sources was located. This gives reason to believe that the mythical Aya was identified with the historical Hayasa.

In Homer’s account of the adventurous journey of Odysseus, the song of the sirens was so appealing and tempting that it lured sailors to their deaths. Warned by the goddess Kirke, Odysseus overcame the trap by plugging his crew’s ears with wax. An archaeo-acoustical research expedition undertaken by members of Humboldt University Berlin made sound propagation experiments at the supposedly historical scene at the Galli Islands where it’s said that the sirens originally sung. At the site we broadcasted both synthetic signals and natural voices via loudspeakers in the direction Odysseus most probably should have approached the Siren’s island. Subjective listening as well as objective acoustic analysis of the recorded signals revealed evidence for a combination of site-specific acoustic effects, which may explain the nature and origin of the song of the sirens in Homer. The local arrangement of the three islands deforms the acoustic signals by amplification and by changes in timbre. Two female singers from the Berlin State Opera were asked to sing differently pitched musical intervals to be tested in the Li Galli environment. The experiment evinced that the first overtones (octave, fifth, and fourths) would be merged by the echo of the rocks; yet when singing pure thirds and less consonant intervals, which yield higher orders in the overtone series, the voices appear recognisable as being two. As a result, and particularly because Homer stresses the number of exactly two sirens several times, the evidence of our research supports the musicological theory for a rather early existence of enharmonic tunings and most prominently a two-part polyphonic singing of Greek songs. Given that the rocky formation of the Galli Islands most likely didn’t change during the geological tick of just 2,700 years, we conclude that there has been a real acoustic basis for the myth reported by Homer and that a “song of the Sirens”, most probably based on natural voices, was transformed by the particular acoustic conditions of the landscape in such a way that signals were amplified and sent out in one concrete direction. Based on these results, we continue to discuss further leading acoustic theories that offer new insights into the mythology and which were essential to motivate our expedition in the first place. After all, the question remains open what kind of beings the first emitters of the song might have been.

The article outlines the intertextual field parameters in the novel "Andrii Lahovskyi" by Ahatanhel Krymskyi. In the process of research the active use of quotations and allusions by the writer was found out. Quotations are organically embedded in the speech of all characters, it is especially true of the main character (71 example found). The novel is dominated by quotations with partial attribution - indicating the author of the prototext (37 quotations) or the whole work (4 quotations). There are 6 quotations with full attribution, 4 quotations with “allusive” attribution and 10 quotations with unspecified attribution. Unattributed quotes are most taken from the reading-books. Ukrainian, Old Slavic, Russian, Ancient Greek, Latin, German, French, English, Italian, and Turkish languages appear in these intertextual inclusions. Allusions to works of Ukrainian and foreign authors, the Bible, myths, numerous historical and philosophical reminiscences (Ptolemy, Strabo, Xenophon, Plato, Max Stirner) are actively used in the novel. Other types and forms of intertextual relations in the novel include: 1) paratextuality (the title of the third part of the novel "Following St. Ephrem the Syrian" emphasizes the prototext, which played an important role in the spiritual evolution of the main character); 2) hyperintertextuality — paraphrases used to establish a dialogue with other literary works in terms of saving text space; 3) metatextuality (Lahovskyi's reflections on Ivan Franko's "Parable of Beauty", Volodymyr Shmidt's discourse of Heine's poetry "Der Asra"); 4) autointertextuality (citing the other poetic works of Ahatanhel Krymskyi in the novel). The novel also reveals examples of apocryphal intertextuality (a fictional "quote" from the biblical book of Jesus Sirach) and intermediality (references to the opera "Faust", "Siciliana" from "Cavalleria Rusticana", Rubinstein's music to Heine's "Der Asra", Ophelia's song, a Japanese song about a goldfish, Wagner’s operas). The list of key prototexts of the analysed novel includes: 1) the Bible; 2) ancient literature and mythology; 3) Ukrainian literature; 4) Russian literature; 5) German literature. Episodic references to English, French, Italian literature, Eastern poetry and folklore appear in the novel. Taking into account the variety of types and forms of intertextuality in the novel and the significant fleshing out of the intertextual field with textual inclusions from the works of Ukrainian and foreign writers, we can consider the novel "Andrii Lahovskyi" to be one of the first examples of an intellectual novel in Ukrainian literature.