LANGUAGE ASPECT OF VICTOR PETROV-DOMONTOVYCH’S IDIOSTYLE

Abstract

The article identifi es the peculiarities of author’s idiostyle in the context of problems of language history and linguoculturology, which extends ideas about the artist’s work, features of his linguistic personality against the background of cultural traditions and allows to determine the author’s place in the history of national culture. The reconstruction of the picture of the writer ‘s world in the paradigm of modern literary, linguistic and cultural studies has been traced. Linguistic units that refl ect the artistic picture of the world undergo all sorts of transformations and acquire additional meanings, expanding the semantic fi eld of a particular linguistic sign. The artistic and semantic volume of the word, new meaningful and connotative shades in a specifi c artistic text (the novel «Girl with a Bear») have been considered. The architectonics of the novel «The Girl with the Bear» is the result of Petrov-Domontovych’s special linguistic style, built on the use of artistic and cultural-historical discourses. Petrov-Domontovych was a talented master in his search for a semantically capacious and multifunctional artistic word, enriching the language of works with original interpretations of metaphorical formations. He expressed mental processes and feelings with the help of concrete-sensory forms, profi ling their new properties, rethinking human life. Intertextuality as a characteristic feature of Petrov-Domontovych’s literary practice in the paradigm of modern ideas on the background context of the linguistic and fi gurative picture of the writer’s world has been defi ned. The analysis of the forms of objectifi cation of a «foreign language» in the novel «The Girl with the Bear» allows us to consider it as an context used to create a holistic linguistic and fi gurative picture of the author’s world. The author implements a certain model of artistic communication, creating an original, fundamentally new text, guided by certain communicative intentions and known to him methods of aesthetic infl uence on the reader.