У статті досліджено координати топосу Петербурга в поемі "Сон" ("У всякого своя доля…"), виокремлено локуси у системі просторового континууму міста, з’ясовано особливості інтерпретації символіки означених локусів Петербурга, проаналізовано семіотичні параметри відтворення профанної моделі буття мешканців міста, виділено специфіку авторської онтологічної поетики в художньому моделюванні локусів, топосу Петербурга.
Introduction. The topos of St. Petersburg in the life and art of Shevchenko’s fate occupies the intricate space of urban discourse, among which it is worth highlighting the features of the representation of the city ’s profanation pattern, the spiritual emptiness of its key attributes as loci. The city in the poem "The Dream" ("Everyone has his own destiny...") of
T. Shevchenko acts as a broad background of urbanistic attributes, on the background of which events unfold, and a full-fledged character that influences the formation of spheres that are not spatial as the semantic shades of profanation and the secularized model of being of townspeople.
Purpose. The purpose of the research is to consider and elaborate interlacement of the loci of St. Petersburg in the coordinate system of the city’s topos, with a distinction of the specificity of the profane model of its inhabitants’ existence.
Methods. The specifics of the embodiment of the urban theme in the artistic text require the use of system analysis, the complex use of historical and genetic, structural and semiotic, hermeneutic and philological methods.
Results. The topos of St. Petersburg is a special way of thinking, which is invested in the scope of space and time, which become a large map for deep psychological reflections of the author and heroes. The streets of the city are local places of countless "plays" and "dramas" of the poor lives of the inhabitants. The Winter Palace and the chambers are the loops of the private life of the Emperor and his court nobility (retinue), which are reduced to permanent celebrations and demonstration of despotism, etc. Churches and St. Peter and Paul Cathedral are formal components of the ontological discourse of pseudo -spirituality of St. Petersburg only. The cathedral becomes a symbol of deep spiritual emptiness; it is the main secularized and profane locus in the perspective of the city’s topos. The Peter and Paul Fortress is a locus that had the meaning of a place-defending space of the city, but at the same time it is the locus of a prison and a closed space that destroys the hum an personality. The fortress is the personification of St. Petersburg; it symbolizes the closed space of the soul. The river in the poem is the locus of constancy, which is a natural opposition to the civilization universe, but its waves become living witnesses of the king’s despotism and the impoverishment of ordinary people. The locus of the stone bank appears as an embodiment of architectural pragmatism and perfection of St. Petersburg. The "Stone of souls" of the fallen people in the space of the capital of the empire is an ominous locus as the monument to Peter I. The Senate is a locus, where the apogee of continuous bureaucracy is concentrated, which are heterotrophs of the common people, not having faith in sacred, native and intimate. The pragmatic ordering of the loci interferes with their interaction with one another in harmonious unity as a "spatial ensemble". The semiotic code of St. Petersburg is a pragmatic way of loci-psychologists that interact with each other as dead imprints of a spiritually empty space.
Originality. The topos of St. Petersburg was interpreted as an artistic system of locus coordinates of the city and distinguishing them as semiosis of spatial meanings for the first time in contemporary Shevchenko studies. The semiotic parameters of St. Petersburg loci in the stream of profane and secularized model of inhabitants of the city are analysed, as well as features of the author’s ontological poetics in the image of St. Petersburg and the reproduction of its key attributes along with the parameters of consciousness of the implicit recipient.
Conclusion. T. Shevchenko contrasts the completeness of the spirituality of the Ukrainian village with the low level of morality and impotence of the imperial city, that is, the author’s antithesis of the rustic and civilizational beginnings. The profane model of St. Petersburg expresses ontological and axiological the low being of the townspeople of various social sorrels in the social household and personal meaning. The secularized model consists in the removal of holiness from the sacred attributes of the city, which become centres of an inhumane way of being. The restoration of St. Petersburg as an ominous topos, the apotheosis of lies and insolence is marked by the suggestion of the trivial mode of being. The values of the "low dignity" of the ruling elite and the inhabitants of the city (permissive way of life, proximity, despotism, prostitution ) vividly relay the locusts of St. Petersburg, which appear in the background, which can show the processes of reducing the role of spirituality in the life of society. The peculiarity of ontological poetics in restoring the topos of St. Petersburg is th e close connection between the author’s vision and the consciousness of the implicit recipient.
