ART TEXT AS A HYBRID TYPE OF TEXT

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Abstract

The study explores the art text as a functionally hybrid form of discourse emerging within the conditions of contemporaneity, genre indeterminacy, and media convergence in contemporary art. The relevance of the research lies in the growing need to conceptualize new forms of critical writing that reflect the transformation of artistic and institutional fields in the postmodern era. The art text is understood as a discursive practice uniting aesthetic perception and theoretical reflection, where the language of criticism serves both as a descriptive tool and a mechanism of meaning-making. The study aims to identify and empirically confirm the structural hybridity of critical discourse manifested at the intersection of philosophical, journalistic, and analytical layers. The methodological basis includes the concepts of hybridity, the theory of the open work, and institutional critique. To empirically substantiate hybridity in Boris Groys’s art-critical texts, content analysis following E. Tarshis’s method was applied, using a categorical grid that registers the co-occurrence of genre functions. The results show that the art text is a fundamentally non-monolithic structure, characterized by a high degree of hybrid encoding within thematic blocks. The dominant pattern—synthesis of philosophical reasoning and socio-political commentary—reflects the strategic need for simultaneous interpretation of art’s metaphysical and institutional dimensions. The scientific novelty of the study lies in refining the concept of the art text as a hybrid discursive form that integrates aesthetic, philosophical, and social functions. The theoretical significance is in developing the conceptual apparatus of the humanities in relation to hybridity, text, and contemporary art, while the practical value lies in applying this methodology to the analysis of interdisciplinary and critical texts in cultural studies, philosophy, and media art.