Функции экфрасиса в романе Д. Тартт “Щегол”
The article discusses the actualization of pictorial ekphrasis in Donna Tartt’s novel “The Goldfinch”. The description starts with an overview of previous scientific works covering the similar topic in connection with different authors to show the changes in understanding the term through time. To illustrate the advanced role of ekphrasis in the text its various functions with vivid examples of their embodiment in the book are then outlined. The classifications of functions by M. Rubins, E. Postnova, and N. Bochkareva help to uncover the significance of the canvas by Karel Fabricius in the life of the main character, its special value in terms of the Bildungsroman genre, and the key role of the ekphrasis in building the narrative of the novel. Thus, due to the analysis of the realization of ekphrasis in “The Goldfinch” it is uncovered that not only the verbal form of the visual image as well as not only the writer’s interpretation of this image are presented in the text, but a complicated structure of meanings and missions relates to the mysterious canvas that adds a special value to the novel. The following functions of the picture were stated to be realized in the book: prophetic, composite, characterolgical, metapoetic, chronotopic, genre-forming, and didactic.