COLOR LEXEMES IN SVETLANA BARABASH'S POETIC LEXICON

Abstract

The article is devoted to the study of color lexemes as language units. The main tokens, which form the core of the lexical-semantic field of color of modern language, and peripheral, which have seven with a shade of the main tone and may have additional characteristics, are defined. The spectrum of compatibility of color lexemes with other tokens is outlined.
It is emphasized that despite the significant scientific achievements on the problem of color designations, there are still aspects that deserve the attention of linguists. One such aspect is the study of color symbols in modern poetic text.
The interaction of traditional and individual-authorial in the use of color lexemes is analyzed. It was found out that in S. Barabash's lyric language means for color designation are sometimes specific, and sometimes complicated, rethought. A wide range of basic colors (white, black, yellow, red, green), several mixed (gray, silver, gold, pink, purple) help the poet to convey their own knowledge of the world around them, to generalize impressions and "color" images.
It is proved that S. Barabash's poetry is inseparable from the deep sensory principle that permeates its poetics. The writer subtly aestheticizes color, sound, shape. Each color creates around itself a certain semantic field, a certain composition of the author's thoughts, because, in addition to semantic and descriptive function, colors, their combination realizes the emotional function that affects human feelings and thus contributes to the formation of a certain mood.
It is noted that the palette of colors S. Barabash characterizes her individual creative style, determines the expansion of the compatibility of components with the semantics of color with commonly used words, which contributes to the enrichment of the ideological and thematic spectrum of poetic works.