transtextuality, intertext, persuasion, avtorskaya pesnya, V. S. Vysotsky

V nastojaščej statje vnimanie udeleno fenomenu interteksta i persvazii. V pervoj časti raboty rassmatrivajetsja avtoritetnyj trud avstrijskogo učenogo Heinricha Pfandla - Textbeziehungen im dichterischen Werk Vladimir Vysockijs, posjaščennyj problematike transtextualnych otnošenij (termin G. Genetta), v tom čisle i interesujuščemu nas intertekstu. V dannoj statje takže rassmatrivajetsja publikacija rossijskogo učenogo Andreja Skobeleva Mnogo nejasnogo v strannoj strane... II, kotoraja kommentirujet izbrannyje pesni Vysockogo i imejet otnošenije i k intertekstu. V sledujuščej časti dannoj raboty charakterizujetsja sravnitelno novoje ponjatije - persvazija (iz angl. persuasion). My o dannoj problematike govorim tolko v obščich čertach. V dalnejšich issledovanijach chotelos by pokazat, kakimi imenno sredstvami Vysockij dobivajetsja persvazii u svoich recipientov.

The present article sheds some light on the phenomenon of intertext and persuasion. In the first part of this work attention has been devoted to an authoritative work on Vysotsky by the Austrian scholar Heinrich Pfandl called Textbeziehungen im dichterischen Werk Vladimir Vysockijs. The work deals with transtextual relations (transtextuality is a term by G. Genette) within Vysotsky songs and, last but not least, refers to intertext. Our attention is also concentrated upon a publication of the Russian scholar Andrey Skobelev. It is called Mnogo neyasnogo v strannoj strane? II. It comments on selected Vysotsky songs and also has a regard to intertext. The second part of the given article characterises a relatively new term, the so-called "persuasion". We only speak about it in general. We would like to show, in research that is to follow, what means (verbal or otherwise) Vysotsky used to persuade his audience.