ОБРАТНЫЙ ЭКФРАСИС В РОМАНЕ Д. РУБИНОЙ «БЕЛАЯ ГОЛУБКА КОРДОВЫ»: МИР КАК ТЕКСТ

The article highlights several groups of ekphrastical descriptions based on the original – fake (copy). The first one includes paintings by famous painters falsified by the main character of the novel Cordovin. To the second group we refer the work of the artist himself. These are portraits of his beloved and a cycle of genre paintings “Jerusalemka”. The third group consists of real or fictional works by other artists. Most often, they are only called or even simply mentioned the names of the painters. The fourth group stands apart, it includes all cases of reverse ekphrasis. The reverse ekphrasis is considered in the novel The White Dove of Cordoba. Reverse ekphrasis is understood as the description of any object or character of a literary work as a work of art or, at least, having any similarities with a pictorial, sculptural image, musical or cinema image, etc. The ekfrastic landscapes and portraits of the characters presented in the Ru-bina’s work are analyzed, their functions, typological features are revealed and the features of their compositional organization are determined. The picturesque ekphrasis is regularly used in the text of the novel, supplemented with theatrical, musical, choreographic, architectural ekphrasis. The study showed that the text of the novel, despite the numerous features of realistic aesthetics, is organized as a game space: both the actants and the scene itself do not refer to the primary reality, these are “alive” portraits and landscapes. Based on the observations made, it is concluded that both the narrator and the main character perceive the world around him as an artistic text that speaks the language of art. Even Kordovin builds his life as if working on a work of art. The artist appears in the novel in the role of the demiurge, committed to eternity thanks to the canvases written by him. Embodying in the novel the concept of non-art art, which reflects reality, Rubina restores the artist’s rights, which for several decades was considered only as a “scriptor” (Roland Barthes). Following the postmodernist definition of the world as text, the writer doubles this text, creating the world as a painting canvas, written not with a brush, but with a word