Abstract
The article investigates how humanistic values are represented in videopoetry, a salient phenomenon of digital culture. Its relevance stems from the rapid growth of intermedial artistic practices and the need for philological reflection on the transformation of the classical literary heritage within new media formats. The study focuses on two works: Kirill Avdonin’s “Do Not Lament” (“Ne setui ty”) based on verses by A. Fet, as well as Roman Sinitsky and Danila Trukhin’s “Why” (“Otchego”) based on verses by H. Heine. The aim is to determine how a complex of audiovisual means (image, editing, sound, color) actualizes and reinterprets the humanistic potential of classic poetic texts, projecting it onto the plane of contemporary existential concerns. Methodologically, the article employs intermedial analysis to examine the interplay of verbal, visual, and aural codes in forming a cohesive artistic statement, complemented by narrative analysis, comparative approaches, and hermeneutics. The findings show that videopoetry is not a mere illustration of the text but produces an autonomous interpretation in which humanism emerges not as abstract slogans but as concrete, recognizable human situations. In the piece after Fet, the humanistic pathos shifts from pantheistic acceptance to the problem of human choice before the inevitability of Death, foregrounding an act of mercy and the rejection of fatalism. In the interpretation of Heine, humanism unfolds through subtle psychologization and the contrast between the vivid world of memory and the gray reality of solitude, eliciting deep empathy. The study’s novelty lies in the first detailed intermedial analysis of specific videopoetry works in the context of the continuity and transformation of humanistic ideas. The results can be applied in literary theory and history, intermedial studies, and in designing courses on contemporary digital culture and media poetics.
Keywords
Videopoetry, intermediality, humanism, A. Fet, H. Heine, visual image, digital philology, existential themes, media adaptation.