Дисертація присвячена дослідженню семантико-стилістичних особливостей конфесійної лексики, зокрема в поетичному мовленні. Водночас з’ясовуються лінгвістична природа конфесійно маркованої лексики, принципи її відокремлення від суміжних тематичних груп, одиниць інших функціональних стилів. Визначено семантичну структуру конфесійних онімів, здійснено їх класифікацію. Проаналізовано стилістичну реалізацію й значеннєві трансформації конфесійних онімних і відонімних одиниць у творах українських репресованих поетів 60 – 80-х років ХХ ст. Описано різні шляхи утворення від конфесійних стилістем особливих видів власних назв – заголовків і оказіонімів, а також продукування від конфесійних онімів індивідуально-авторських новацій.
Практично доведено, що конфесійний стиль сучасної української літературної мови, незважаючи на припинення розвитку в 40 – 80-х роках ХХ ст. в Україні, залишався потужним джерелом поповнення виражальними засобами поетичного мовлення.
Диссертация посвящена исследованию семантико-стилистических особенностей конфессиональной лексики, в частности в поэтической речи. В то же время выясняются лингвистическая природа конфессиональной лексики, принципы ее отделения от смежных тематических групп, единиц других функциональных стилей. Определено семантическую структуру конфессиональных онимов, произведено их классификацию. Проанализировано стилистическое поведение и смысловые трансформации конфессиональных онимных и отонимных единиц в произведениях украинских репрессированных поэтов 60 – 80-х годов ХХ в. Описано разные пути образования от конфессиональных стилистем особых видов собственных имен – заголовков и окказионимов, а также продуцирование от конфессиональных онимов индивидуально-авторских новаций.
Практически доказано, что конфессиональный стиль современного украинского литературного языка, несмотря на прекращение развития в 40 – 80-х годах ХХ в. в Украине, оставался мощным источником пополнения выразительными средствами поэтической речи.
This dissertation is a research of language and speech peculiarities of the confessional lexicon, in particular onyms and lexicon derived from them. It gives a definition of the confessionally featured lexicon, which fall into one category on the basis of the common connotative (functional and stylistic) meaning. It defines principles of its separation from the adjacent thematic groups (religious, Christian, ecclesiastical, sacral lexicon, theological, ecclesiastical and ritual terminology, etc) and also from the units of other functional styles. It proves a necessary of the separation of confessional onyms from appellative and phraseological units. While determining the meanings of confessional proper names it was established that they, like all the onyms, are characterized by their semantical and componental non-uniformity and had obvious connections with notions. Many intra and extralinguistic, language and interlanguage connotations belong to specific characteristics of confessionally featured proper names. Besides, such onyms often gain the distinctions of symbols.
The work presents a classification of confessional onym stylistems in the works of the Ukrainian poets-dissidents of the 60 – 80’s of the 20th century. The classification is based on the opposition "real – hypothetical", and according to the referent nature it divides the confessional proper stylistems into realonyms and mythonyms with an intermediate category of agionyms.
While analysing the artistic adaptation of each sequence of confessional proper names, it was explored that the stylistic behaviour and semantic transformation of such language units were mainly caused by their significative and denotative relation, cultural information and general connotative characteristics. Therefore, the mythonyms prevail in the analysed poetic texts over the realonyms, carrying out more expressive functions. In poetic speech, an exceptional stylistic stress concentrates on theonyms as exponents of the philosophical and religious faith complex, emotional feelings, aesthetical desires, etc. Toponyms have the highest descriptive potential among confessional realonyms.
It examines different formation ways of peculiar forms of proper names – titles and ocasionomies, which are the keywords of a text, its semantic and descriptive dominants from confessional stylistemes. Besides, the confessional lexemes, which express as titles, are characterised by the greatest stylistic value, hyper-semantics and artistic independence. However, in most cases the titles of poetic works such stylistems do not undergo meaningful shifting; poets programm confessional biblionyms, first of all single-component ones, to be used for a comprehension of a work or a group of works. The most effective way of formation of the lexeme oсcasionyms from confessional lexicon is onymisation; therefore the confessional word acquires a very powerful self-descriptiveness.
As a result of the observation of usual and occasional units formed from onomastics, motivated by confessional lexemes, it was determined that they were special poetic means, which continue an onomastic "game" in artistic speech. The confessional lexemes formed from onyms are characterised by a significant semantic and stylistic potential, although they give way in this respect to the motivated words. Their poetic functions are similar to the functions of the formative proper names in the works, although the confessional lexemes formed from onyms frequently lose the status of keyword due to shifting of the semantic emphases to another component of syntagma.
In the connotative sphere, changes of the confessional proper names and units formed from onyms are caused by many factors both linguistic and extra linguistic.
The confessional style of the modern Ukrainian literary language also influences on the artistic type at the level of an individual author's word formation of confessionally featured onym stylistemes having big derivative possibilities. As a result of this, lexical innovations have a certain sacral value represented by a number of semes, and they are characterised by a real or unreal denotative and significative characteristic.
The research practically proved that the confessional style of the modern Ukrainian literary language, in spite of its development cessation during the 40 – 80’s of the 20th century in Ukraine, remained a strong source of expressive means of artistic sorts of language. Poetic speech uses a wide powerful stylistic potential of the confessional lexemes for fulfilling diverse artistic targets.
