{"title":"Ukrainian onomastic realities in poetic discourse by Nicholay Zerov","authors":"E. Boeva","doi":"10.18524/2410-3373.2018.21.155181","DOIUrl":null,"url":null,"abstract":"The article is devoted to the study of the functional features of onyms that nominate Ukrainian realities in the poetic discourse of the prominent Ukrainian neoclassicist poet N. Zerov. The communicative-pragmatic orientation of anthroponyms and toponyms in the context of sonnets of the Ukrainian artist, the ways of their participation in the creation of the artistic whole — the poetic cycle — were established. The lonely space of a literary work is always the reflection of the subjective tastes of the writer, his vision and understanding of objects in the surrounding reality. As a creature component of artistic text, onyms acquire new connotations, symbolize, become an important means of emotional-figurative deployment of artistic work. We believe that such a study is necessary for the further development of the theory and practice of Ukrainian literary onomastics. The purpose of the paper is to determine the functional and stylistic peculiarities of own names, which characterize the realities of Ukrainian history and culture in the poetic discourse of N. Zerov. The object of the study is the artistic speech of Nikolai Zerov, an onyms of his poetry. The subject of analysis consists of anthroponyms and toponyms that characterize the realities of Ukrainian history and culture. The research methods are determined by the specificity of the onymic material, which primarily requires a systematic approach and a traditional descriptive method. The stylistic-contextual approach enabled us to establish the communicative-pragmatic potential of the investigated proper names. Conclusions: Proper names in the poetry discourse of N. Zerov have a wide functional range, due to their informative nature, short poetic text acquires semantic capacity. Onyms in the poetry of the artist acquire a generalized symbolic color, taking a leading position in the verbal embodiment of the artistic concept of the work, solving individual aesthetic tasks, contribute to an in-depth understanding of the author’s plan.","PeriodicalId":408423,"journal":{"name":"Opera in onomastica","volume":"11 1","pages":"0"},"PeriodicalIF":0.0000,"publicationDate":"2019-01-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":null,"platform":"Semanticscholar","paperid":null,"PeriodicalName":"Opera in onomastica","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.18524/2410-3373.2018.21.155181","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"","JCRName":"","Score":null,"Total":0}
引用次数: 0
Abstract
The article is devoted to the study of the functional features of onyms that nominate Ukrainian realities in the poetic discourse of the prominent Ukrainian neoclassicist poet N. Zerov. The communicative-pragmatic orientation of anthroponyms and toponyms in the context of sonnets of the Ukrainian artist, the ways of their participation in the creation of the artistic whole — the poetic cycle — were established. The lonely space of a literary work is always the reflection of the subjective tastes of the writer, his vision and understanding of objects in the surrounding reality. As a creature component of artistic text, onyms acquire new connotations, symbolize, become an important means of emotional-figurative deployment of artistic work. We believe that such a study is necessary for the further development of the theory and practice of Ukrainian literary onomastics. The purpose of the paper is to determine the functional and stylistic peculiarities of own names, which characterize the realities of Ukrainian history and culture in the poetic discourse of N. Zerov. The object of the study is the artistic speech of Nikolai Zerov, an onyms of his poetry. The subject of analysis consists of anthroponyms and toponyms that characterize the realities of Ukrainian history and culture. The research methods are determined by the specificity of the onymic material, which primarily requires a systematic approach and a traditional descriptive method. The stylistic-contextual approach enabled us to establish the communicative-pragmatic potential of the investigated proper names. Conclusions: Proper names in the poetry discourse of N. Zerov have a wide functional range, due to their informative nature, short poetic text acquires semantic capacity. Onyms in the poetry of the artist acquire a generalized symbolic color, taking a leading position in the verbal embodiment of the artistic concept of the work, solving individual aesthetic tasks, contribute to an in-depth understanding of the author’s plan.