Abstract: The article considers the problem of textual borrowings from his own compositions as a way of author’s self-understanding and self-interpreting, in the style formation of the latest period of Tchaikovsky’s work (1890-1893). The research is based on the last vocal cycle of the composer - Six Romances, op. 73 (1893). The problem field of the research also covers a range of compositions related to the last four years of the composer’s life: “The Queen of Spades” opera, Sixth Symphony, “The Nutcracker” ballet, and an opera “Iolanta”. Special attention is given to the integral stylistic substantiation of such specific techniques of “self-hermeneutics” as anagrammatizing, self-citing, tonal reminiscences, and composition-drama correlations. The author considers the declared problem in the intertextual context, classifying it as “self-intertextuality”, and uses the intertext methodology of the French structuralist school (F. Saussure, Ju. Kristeva), and the Russian researchers of the phenomenon of self-intertextuality (V. Toporov, T. Fateeva). An additional methodological direction is a mythopoetic substantiation of anagrammatizing (the detection of an author’s monogram), for which the author uses the instruments of onomastic concepts of myth (A. Losev, Yu. Lotman). As a result of such an integrative (intertextual and mythopoetic) approach, very “unexpected” (at least at first sight) manifestations of self-intertextuality (the presence of a monogram “SNA”, citations from various compositions, non-conventional tone plan and “anti-final” cyclic composition in the music cycle) are comprehensively semantically substantiated by the author’s myth about “Name acquisition”. Thus, the discovered methodological strategy can be used for studying particular opuses and corpus-based text forms. 
 

Abstract: The article considers the problems of the poly-code nature in the generation of style of Pyotr Ilyich Tchaikovsky (1840 - 1893). The author studies one of the largest compositions of the late period of the composer’s work - the opera “The Queen of Spades” (1890). Special attention is given to the integral style substantiation of the stylistic borrowings (citations, quasi-citations, allusions, stylizations) pointing at the music by the composer’s predecessors (Bortniansky, Gretry, Weber, Mozart), and the Orthodox church rules and folklore. The author considers this problem in intertext dimension and uses the methodology of intertext of the French structuralist school (Julia Kristeva and Roland Bart) and analytical instruments of Marina Raku (central text - visible intertext, hidden intertext) to record the necessity to move to a new interpreting level using the “monomyth” concept of Joseph Campbell. Using the integrative mythopoetic intertextual strategy, the author gives a comprehensive substantiation to the “stylistic deviations” in the opera (citations from Bortniansky, Gretry, Weber; stylizations inspired by Mozart, etc). The author reveals an integral mythological model and uses it to detect the two-level correlation between the out-of-style material and mythopoetics of the theme of the opera “The Queen of Spades”, and the author’s style myth of Tchaikovsky. The used methodology can be applied in separate opera, or in the composer’s super-style. 
 

Abstract: The article considers the problems of the poly-code nature in the generation of style of Pyotr Ilyich Tchaikovsky (1840 - 1893). The author studies one of the largest compositions of the late period of the composer’s work - the opera “The Queen of Spades” (1890). Special attention is given to the integral style substantiation of the stylistic borrowings (citations, quasi-citations, allusions, stylizations) pointing at the music by the composer’s predecessors (Bortniansky, Gretry, Weber, Mozart), and the Orthodox church rules and folklore. The author considers this problem in intertext dimension and uses the methodology of intertext of the French structuralist school (Julia Kristeva and Roland Bart) and analytical instruments of Marina Raku (central text - visible intertext, hidden intertext) to record the necessity to move to a new interpreting level using the “monomyth” concept of Joseph Campbell. Using the integrative mythopoetic intertextual strategy, the author gives a comprehensive substantiation to the “stylistic deviations” in the opera (citations from Bortniansky, Gretry, Weber; stylizations inspired by Mozart, etc). The author reveals an integral mythological model and uses it to detect the two-level correlation between the out-of-style material and mythopoetics of the theme of the opera “The Queen of Spades”, and the author’s style myth of Tchaikovsky. The used methodology can be applied in separate opera, or in the composer’s super-style.