VERBALIZATION OF V. SOSIURA’S VIEWS IN THE ONYMICON OF POETIC WORKS

Abstract

The article identifies the problem of verbalization of V. Sosiura’s views in the onymic of poetic works. It is emphasized that it’s expedient to study the idiostyles of writers whose work is symbolic both for a certain people and for the aesthetic context in general. It is noted that the processes consisting in the semantic transformation of a word, the formation of its artistic meaning, and the transformation of a word into an aesthetic sign deserve special attention in the analysis of individual features of poetic texts. The question of studying the individual stylistic features of V. Sosiura’s poetry in the semantic-functional aspect, the need to rethink and analyze his creative output from a new point, taking into account the mechanisms of word transformation in poetic texts, becomes relevant. It is determined that V. Sosiura played a significant role in the depiction of the era through the onymicon, although today we state ambiguous views on his personality, and sometimes on his creative output. In the minds of the Ukrainian people, V. Sosiura is a vivid representative of the new generation of lyric poets, who were doomed to adapt to the conditions of the ideological leadership of literature, trying to preserve the best folk song traditions.
The analysis of the texts of the poems showed that among the categories of the toponymicon of V. Sosiura’s poetic picture of the world, the most numerous are the groups of choronyms, hydronyms, and oikonyms, in particular, astonyms (names of cities), hodonyms (names of streets), and urbanonyms (names of inner-city objects), to a lesser extent oronyms and dryonyms are presented, and the most diverse are oikonyms and urbanonyms, which presents the open poetic space of the author’s picture of the world.