GRAPHICAL PARAMETER OF UKRAINIAN RHYME

This study deals with the classification of Ukrainian rhymes based on visual and phonic signs. Ukrainian orthography is based on the phonemic principle, taking into account morphological, traditional and differential. It is well adapted to reproduce the consonance of words in a letter, so predominantly the reader does not experience the feeling of splitting the image of the rhyme. Despite the clarity of the concepts ‘visual’ and ‘phonic’, the terms ‘visual rhyme’ and ‘phonic rhyme’ defined in the scientific literature differently. Our purpose was to study the means of visual representation of rhyming words and analyze the degree of coincidence of the visual images of the rhyme components. Mainly the aesthetic intention is an impulse of employing graphic techniques that estrange visual images of components from each other or bind them on the basis of orthographic deviation. The authors of modern poetry actively apply foreign letter inclusions, rows of dots, figures and other non-alphabetic signs. Analysed material gave grounds for the rhymes distribution to phonic, formally phonic, phonic-and-visual, visual-and-phonic, formally visual. In phonic rhymes, the relative parts of the rhyming words are not identical in the letter. Formally phonic group includes rhymes with non-literal or foreign-literal components. Phonic-and-visual rhymes takes into account the cases of traditional notation of some letters. The vowels of these rhymes are identical. Visual-and-phonic rhymes expect complete correspondence between the vowels and the letters of the correlative parts of the rhyming words. Formally visual rhymes cover cases of visual identity of correlated parts of the rhyming words and dissimilarity of vowels. A refined rhyme classification will help to originate a modernized general systematics of Ukrainian rhymes.

Variation in the official female onomasticon of Ukraine: between norm and abnormality

The article deals with sociolinguistic analysis of modern official female onomasticon of Ukraine. Its dynamics reflects processes, which are taking place in language system, and changes in society, social demographic and ethnic pattern, cultural markers and values, even the extent of legal regulation of social relations. Sociologists are interested in personal names as a means of social categorization and differentiation of individuals. Legists see them as a tool for one’s legalization and as an object of legal protection. Anthropologists study them as special units of communication and interaction between generations. For linguists they are a specific typexplore them linguists – ists of means of lexical nomination. Linguistically onomasticon is a valuable source of information on the current state of language norms, level of linguistic culture of the population, and the status correlation between languages in society. According to the date of the Ministry of Justice of Ukraine, the repertoire of newborn girls’ names in 2015–2019 exceeded half a thousand units. It’s due to the magnitude of globalization processes in naming, restoration of national naming traditions, rising social freedom in choosing names, and, sometimes, the decay of sense of responsibility in naming and insufficient language culture. About third part of female names appears as phonetic, orthographic and morphological variants. Ukraine is a multinational state and representatives of other nationalities and national minorities maintain their own naming traditions. Ukrainian spelling of these names in documents often is inconsequent. Often variants arise due to the ambiguity of transliteration, Ukrainian-Russian language interference and violation of Ukrainian spelling standard. Much less it is a result of alive alternation in the Ukrainian language. Rows of variants of the same official female name consist from two to five or six units. Among them there are normative and anomalous variants. In first case main and optional variants can be distinguished. Optional variants are not conventional in language practice but they do not violate the essential features of national language system (over time, some of them may become more popular than the main variant). Linguistically such variants are the same unit, the natural manifestation of potentialities of language system. But legally, person’s name can’t be spelled differently in her documents.

GENRES OF OFFICIAL AND BUSINESS COMMUNICATION IN RELIGIOUS DISCOURSE

The development of an independent conciliar Ukrainian state and the related processes of restoring historical memory, awakening of national consciousness raised the issue of the functioning of the Ukrainian language in the church, drew public attention to the development of the religious style of the Ukrainian literary language. Like any other public structure, church communicates at the internal religious (confessional) level and at the external – national level. This leads to the formation and establishment of official-business language communication, operation of documents that have characteristic linguistic-structural (lexical, syntactic, textual) features, different from the usual office work. The documentation of the activities of religious organizations reflects the following main stages: – Establishment of religious organizations: statement, charter of the religious community, minutes of the general meeting on the adoption of the statute (regulations) and elections of governing (executive) bodies, a document confirming the organizational and canonical subordination of the religious community, etc. – Staffing: decree. – Participation in the Sacraments: Certificate of Holy Matrimony, Certificate of Baptism and Holy Chrismation, Certificate of Ordination. – Honouring with liturgical and church awards and distinctions. Priests are rewarded with liturgical awards according to the hierarchy of promotion. After that, together with the award, the clergy receive an official document – a Certificate. In addition, there are a number of church awards. Among them are diplomas, orders, medals, which are conferred to lay people who work for the good and prosperity of the Orthodox Church. – Formal business communication for different needs. According to the classification of S. Gongalo, the documents are divided into: – by name: orders, instructions,prescriptions, reports, statements, notes, letters, invitations, etc. – by place of drafting: internal and external. – by origin: official and official personal – by purpose: originals and copies – Confirmation of facts: Reference. Having identified the genres, structure and functioning of official business communication in religious discourse and analyzed them, we can conclude that these documents do not have a high level of standardization, clear structure and rules of design in accordance with legal requirements. They need a clear classification of documents of religious style, the development of requirements for their design, in general – the standardization and unification of official business texts of religious discourse.

“MY LOVE, I’M IN FRONT OF YOU…” (VERBAL IMAGE OF “LOVE” IN LINA KOSTENKO’S POETRY)

The article offers an analysis of the verbal image of “love” in the poetry of Lina Kostenko, traces its lexical-associative and functional-stylistic development. Cognitive-textual analysis shows that the individual linguosophy of the image of “love” in Lina Kostenko’s poetry harmoniously combines tradition and innovation. In particular, there is a continuation of the tradition of sublime-romantic description of the feeling of love, its sacralization. The harmonization of human feelings and the state of nature characteristic of Ukrainian folk poetics, which is manifested in numerous natural-morphological metaphors, is also stated. These metaphors cover a wide range of nominative and verb images that are thematically related to plants. A typical models of metaphorization of the feeling of love – its understanding in terms of conceptospheres “fire”, “element”, “music”. Each of these models is presented from the point of view of Lina Kostenko’s individual author’s vision. The formulas for expressing the feeling of feeling “I love you”, “I think of you” are also textually productive in L. Kostenko’s poetry. Their content is often specified, express the circumstances of the mode of action, time. The affinity of L. Kostenko’s language with the vernacular is evidenced by phraseologized descriptions of love. A number of metaphors by L. Kostenko express the complexity of negative emotional phenomena and states related to love, such as “separation”, “alienation”, “pain”, “anxiety”. The most representative for L. Kostenko’s poetry positively marked lexical-associative connections of the concept of “love” include “love – a kiss” and “love – a dream”.

LINGUOREPRESENTATION OF IMAGES OF HEAVENLY LIGHTS IN B.-I. ANTONYCH’S POETIC TEXTS

The paradigm of describing celestial bodies sun, moon, stars is important for understanding the national-linguistic picture of the world. An objective picture of the world in the poetry of B.-I. Antonych is represented by stable associative-semantic connections of the celestial bodies – time (sun –dawn, day, light time of day; moon, stars – evening, night, dark time of day). The individual poetic picture of the world is commensurate with the objective also in the artistic statement of the property of celestial bodies to radiate light, to be sources of radiance. The corresponding archetypes ‘light’, ‘radiance’, ‘brilliance’ determine the semantics and value of numerous author’s landscape descriptions and psychological-mood metaphors. A number of recorded metaphors represent the folklore-mythological tradition of describing celestial bodies by a visually perceptible sign of shape (sun– circle, wheel, sphere; moon – sickle, horned, horseshoe, circle), color (sun – gold, red; moon – yellow, gold, silver, red; star – silver, gold). These traditional poetic models are supplemented by individual authorial interpretations. Productive author’s models of describing the realities of the sun, moon, and stars include domestication, anthropomorphization and natural morphization. It is established that the contextual uses of celestial bodies in the poetry of B.-I. Antonych is mostly correlated with direct, nominative meaning or actualized in the folklore-mythological key. Also, the concretely nominative and cultural-aesthetic information implicitly embedded in them is often rethought and actively expanded. These nominations actively form new lexical-associative complexes of meanings, new connotations caused by individual experience, ideas, feelings, emotions of the author, his personal creative and aesthetic preferences.

ELITISM AND COMMON ACCESSIBILITY OF LINA KOSTENKO’S POETIC LANGUAGE

The article proves that elitism and universality, common accessibility defining creative and aesthetic features of Lina Kostenko’s poetic language. Their harmony is created by three aesthetic and creative dimensions: world, national and individual. World culture in L. Kostenko’s texts reflects by different lingual-and-aesthetic units – images, aphorized statements, quotations. Panoramic linguo-culturally holistic perception of world culture in the poetry of Lina Kostenko represents the dictionary of precedent names. This dictionary is formed by names from the texts of Bible, culture of antiquity, folklore, literature, fine arts. Together they form a holistic elitist-intellectual text, the perception of which presupposes the presence of a prepared, erudite reader. L. Kostenko’s mini-texts and definitions persuasively reflects the national worldview. That is why they were organically included to the dictionary of literary language, enriched the arsenal of means of intellectual communication as recognizable, emotionally resonant formulas. Today they are actively used to confirm the opinion in various discourses – in journalism, in political rhetoric, in educational, in didactic and scientific literature. One of the factors of elitism just like as of the common accessibility of L. Kostenko’s poetry is her unique ability to verbalize world and national experience as her own. This feature unites L. Kostenko’s poetics with the traditions of T. Shevchenko and, Lesya Ukrainka. The accessibility of L. Kostenko’s artistic maxims as units of communication is promoted by knowledge of psychology, mentality of our contemporaries. They determine the correct formulations of poetic definitions. Among the most frequently updated – existential concepts (life, death), moral categories (conscience, truth, truth), feelings (love, sadness), abstract concepts (irony, vulgarity, glory). Many of them have already become formulas for verbalization of both collective and personal intellectual and emotional experience. Important factor of accessibility of L. Kostenko’s language is its growth from aesthetics, melody and philosophy of national language. Folk words, forms, constructions reflect the natural flow of the author’s thinking. L. Kostenko’s poetic language is an illustrative intellectual-temporal fragment of Ukrainian literary and artistic language of the second half of the XX – beginning of the XXI century. It combines the intellectualism and emotionality, bookishness and deep nationality, national sensuality.

The language of Lesya Ukrainka’s drama «Rufin and Priscilla»: textual and semantic aspect

The article provides a textual, linguistic and stylistic analysis of the text of Lesіa Ukrainka’s drama “Rufin and Priscilla” and its variants. The source of the study is not only the printed text, but also the handwritten text of the draft autograph of the mentioned drama and several layers presented in it. The motives and means of self-editing of the text were specified, the work of the author on the artistic improvement of the drama as well as the organization of language means were traced, their evolution and the process of stylistic improvement of the text were studied. It was proved that Lesіa Ukrainka attached great importance to the choice of synonyms, looked for words that would most accurately convey subtle semantic nuances. When editing the text, the author tried to find accurate expressions, words that more accurately, more clearly convey the idea; worked on each line, made the expressions more psychologically accurate, emotionally rich and more expressive. Lesіa Ukrainka “smoothed out” the drama, reflecting on every word, made changes that raise the artistic level of the work, facilitate pronunciation, and express the sound. Words, which do not carry a semantic charge or duplicate what had already been said in the text, Lesіa Ukrainka, altered and got the artistically better versions. The author extensively used the syntactic means of stylistics, skillfully identified the necessary word with the help of stylistic capacity of syntax. It was proved that Lesіa Ukrainka used the forms, categories and shades of the meanings of verbs, which are ones of the most stylistically noticeable parts of the language. The analyzed examples testify to Lesіa Ukrainka's thorough work on the text, the organization of language means focused on the emotionally evaluative, multifaceted and expressive perspective of dynamic presentation. The playwright tried to find semantically and psychologically balanced expressions, to choose words that would most accurately define the speaker and the nature of the action and improved the stretched stanzas. When choosing the language means, Lesіa Ukrainka preferred emotionally rich, expressively colored words, avoided the statements that distract the attention at climaxes, selected the most semantically and psychologically accurate expressions that would create the desired situation, motivate the thoughts and the behavior of the actors and the nature of action.

“CHRONICLERS WILL NOT HARM FOR US EPITETS WITH A TINT OF RED” (epithetics “Poems from the war” by Borys Humeniuk)

The article offers an analysis of one of the expressive markers of the language of social works of B. Humeniuk “Poems from the war”. Stylistic functions, structural and semantic properties of epithets are outlined. The connection between lyrical and epic epithets and the form of poems – verlibr – is noted. The functional load of epithets in correlation with linguistic-stylistic categories actualization, intimation, subjectivization, publicism, epicness, lyricism is traced. The role of epithets as actualizers of emotional assessments, concrete-sensory associations (color, size, smell of realities, mental state, mood, worldview of a lyrical hero) in readers is established. Emphasis is placed on militarized epithet with destructive semantics of meanings. The individual-author features of actualization of epithets-coloratives (black, red, white, green, blue, yellow) are emphasized. A specific group of epic, more typical of colloquial language, epithets-pronoun adjectives, which enhance the subjectivity of the poetic context. The originality of the epithetics of B. Humeniuk’s verlibr verse is characterized. In particular, the key proper epithet phrases with the direct meaning of adjectives and metaphorical epithets are singled out; two-syllable noun-adjective epithets, epithets as a part of an adjective inversion, epithets as a part of comparison, a paraphrase are distinguished. The correlation of the epithet “Poems from War” with the archetypal cognitive structures – the concepts of War, Warrior, Death, Life, Man, Nature – is traced.

«How to teach the indifferent to feel? How to awaken the mind that founded?»

Modern receptive poetics encourages the study of verbalized end-to-end motives of Lesia Ukrainka’s work. Embodied in various linguistic forms – lexical-semantic, phrase-forming, syntactic-rhythmic and intonation, Lesia Ukrainka’s poetic texts testify to the change of the traditional dictionary of Ukrainian poetry, filling it with new associative connections, consistent with the needs of a particular historical era. Emphasis is placed on the connection of the word with music, not only formal, but also concretized in rhythms, syntactic and intonational variation of verse lines. The considered textual variants of the sonnet “Fantasy” convince in dynamism, originality of figurative-associative linguistic thinking of the poetess. The dynamics is traced in the textual representation of concepts фантазія, мрія, сон життя, in the symbolic meaning of the token камінь and вогонь, камінь and байдужість. Emphasis is placed on various forms of contrast expression – from antonyms, oxymorons, to opposing sentences-judgments. They are representatives of the logical and sensual content of Lesya Ukrainka’s poetic texts. On the example of evaluative significant words to the concept-token WORD as an instrument of poetic creativity, a conclusion about the antithetical thinking of the poetess is made. The dynamic perception of semantics is fixed вогонь, жар, пожежа, associated with a negative assessment of the destructive element, but in the poetic contexts of the author, these symbols are positively assessed as the ability to be a stimulus to creative inspiration, inflammatory, caring soul of the creator. Poetic phraseology to denote the concept of “indifference”, which acquires the meaning of linguistic and aesthetic sign in the Ukrainian language culture, is recorded.

Lesia Ukrainka: spirit and body (linguistic reception of spiritual and body modes in the poetry of Lesia Ukrainka)

The article is a linguistic attempt to reconsider the traditional image of Lesіa Ukrainka as first of all a courageous and indomitable person. The priorities of the writer’s life in the traditional reception are strong spirit, will, courage, steadfastness. We want to present a different image of the writer - emotionally vulnerable, sensual, life-loving, passionate nature. She perceives the world not only spirit, but first of all the body as the first attribute of life, biological existence. We received all the information necessary for semantic decoding in the linguistic, in particular lexical and grammatical organization of Lesіa Ukrainka’s poetic texts. We used not only linguistic-stylistic, contextual, interpretive analysis of contexts, but also the bodily-mimetic method, which is relevant in modern literary criticism. The follower of this method is the Ukrainian literary critic Felix Steinbuk, his work became the theoretical basis for the analysis of linguistic material. We placed special emphasis on the poetic representation of the categories of corporeality in the writer’s texts: ontological (life, heart) and epistemological categories (sight, eye; hearing, voice). After conducting research in the selected strategies, we proposed the image of another Lesіa Ukrainka, which to some extent opposes the canonical versions. We have actualized in this image not the power of the spirit, but the powerful power of the body, hence the vital energy, the love of life, the manifestation of its pathos.