У статті досліджено особливості лексико-граматичної і стилістичної параметризації колоративної лексики в мові роману В. Винниченка «Сонячна машина» як вияв індивідуального стилю письменника. Зазначено, що переважна більшість
кольоронайменувань мають оказіональний характер. Стилістичні функції кольороназв визначаються переважно з контексту.
Introduction. In modern Ukrainian linguistics, there are no scholarly works that would contain a comprehensive analysis of the group of lexemes on the color scheme, in particular, there was not a detailed functional-stylistic analysis of color names in the artistic language. The purpose of the research of the definition of lexical-grammatical and stylistic parametrization of colorful vocabulary in the language of the novel V. Vynnychenko «Solar Machine» as a manifestation of the individual style of the writer.
The purpose of the work led to the use of appropriate methods of linguistic analysis, namely, the methods of distributive and component analysis, used to determine the formal-grammatical structure of color names, the method of aesthetic observation over the word in artistic text. In the analysis of color names as a sign of an individual style writer applied a quantitative approach. Results. After analyzing the artistic language of the novel, three main groups of colored names were distinguished: adjective coloring; substantive coloring; occasional coloring. The research attempted to broaden the classification of the colorations of modern Ukrainian literary language by highlighting the «category of glitter» and thus the «brilliant color» presented in the text of the novel «Solar Machine» by V. Vynnychenko. The work analyzes the adjective, substantive and occasional color names. Occasional and adjective color names predominate in a larger quantity. Originality of research is highlighting the «category of glitter» and structuring color names. Conclusion. It is mentioned that the vast majority of color names of occasional character. Stylistic functions are determined predominantly from the context. The spectrum of color names in metaphoric structures encompasses a wide gamut: from the main spectral and archetypal (blue, red, green, black and white) to rarely (violet, orange). Analysis of the processed material allows us to conclude that the author often perceives the world through color, reproduces a significant amount of emotions, feelings and impressions in «color» associations. The study of coloratov and their significance in the individual style of V. Vynnychenko is not exhaustive and requires a thorough theoretical and practical development.
