У дисертації вперше проаналізовано поетику лірики Н. Білоцерківець.
Виокремлено рівні поетики авторки: образно-метафоричний. пейзажно-композиційний, інтертекстуальний, жанровий, ритміко-версифікаиійнпй.
Розглянуто різні аспекти архетипних образів першостихій, простежено їхню роль у віршах авторки. Проаналізовано художні моделі архетипних образів землі, води, вогню, повітря. Досліджено поетичні особливості пейзажу лірики авторки,
простежено стильову еволюцію у зображенні пейзажних картин, що пояснюється
змінами у світогляді поетеси під упливом історичних змін і філософсько-естетичних
шукань. У роботі проаналізовано функціональні особливості метафорики,
автологічних, інтертекслуальних елементів, асоціативності у творах
Н. Білоцерківець. Розкрито найхарактерніші вияви формозмістової єдності творів,
основні риси художнього світ)' доробку авторки, описано синтез у віршах
індивідуально-авторських естетичних ідей. Висвітлено специфіку ключових образів,
психологізм, медитативність лірики поетеси.
В диссертации впервые рассмотрены основные аспекты поэтики
лирики Н. Белоцерковец. Выделены такие уровни поэтики:
образно-метафорический, пейзажно-композиционный, интертекстуальный,
жанровый, ритмико-версификационный. Проанализированы различные модели
архетипических образов первостихий, прослеживается их роль в поэзиях автора:
образы земли, воды, огня, воздуха. Исследованы поэтические особенности пейзажа
лирики, раскрыта стилевая эволюция в изображении пейзажных картин, что
объясняется изменениями в мировоззрении поэтессы под влиянием исторических
факторов и философско-эстетических исканий. В работе проанализированы
функциональные особенности метафорики, автологических, интертекстуальных
элементов, ассоциативности в произведениях Н. Белоцерковец. Выделены
различные виды метафоры, основой которых есть сенсорные ощущения. Раскрыты
характерные проявления формы стихотворного текста, основные черты
художественного мира, синтез индивидуально авторских эстетических идей.
Выделены особенности ключевых образов, психологизм, медитативность лирики
поэтессы. Исследованы синтезированные классические формы лирики: песнь,
кладбищенская поэзия, баллады, элегии, послания, лирические миниатюры,
стихотворения-аллегории, верлибр, визуальная поэзия, сонет. Проанализированы
ритмомелодика стихотворений Н. Белоцерковец, различные виды рим, 2- и
4-стопные стихотворные размеры (ямб, хорей, дактиль, амфибрахий).
In the dissertation for the first time there have been considered the poetics of
Natalka Belotserkovets’ lyrics. There have been determined levels of the author’s poetics:
imagery-metaphorical, landscape-composition, intertextual, genre, rhythmical-
versification. Such notions as «archetype», «archetypical image», «symbol», «and
mythology» have been delimited. It has been found that in the poetry of N. Belotserkovets
the archetypes of the elements (earth, water, fire and air) are metaphorically embodied
through the individual author’s transformation and subjective vision of the world. In the
lyrical text there have been determined peculiarities of archetypical images that
characterized the structural-content duality: source and fatal-absorbing element. Different
aspects of archetypical images of the elements have been considered; there role in poems
of the author is traced. There have been analyzed the models of archetypical images of
earth, water, fire and air. The author has defined aesthetic functions of transformed
elements in works of N. Belotserkovets. In early lyric there have been defined the main
functions of archetypical images: displaying the cyclic recurrence and routine of life,
poetic image of nostalgic feelings on the base of memory, embodiment the motives of
unity of man and earth. It was found that in contrast to the early lyric the poetry of the 80 -
90 years is characterized by philosophical elements, their sacralization and
desacralization, toughing upon the problem of the World War II, filing the new artistic personality-nostalgic and socially-realistic content. The poetic peculiarities of landscape of author’s lyric have been researched; the
style evolution in depicting of landscape pictures that explained by changes in the outlook
of the poet under influence of the historical changes and philosophical-aesthetic tendencies
has been traced. In the early works of N. Belotserkovets there have been determined that
nature is seen as the embodiment of life itself, infinite and diverse in its manifestation and
presents in different aspects (real, symbolic, aesthetic, philosophical, psychological, and
historical). In the lyric of the 80 — 90 years there have been determined that the main
feature of the landscape is an image of unity which is expressed in interpenetration of
different phenomena and events in combining of modernity and history, the new and
eternal. In the work there have been analyzed functional peculiarities of metaphoric,
autological and intertextual elements, associatively in works of N. Belotserkovets, method
of their internal harmonization. Intertextual connections in the lyric of N. Belotserkovets
which can be found in the whole works have been considered. In verses of the author
different forms of literary intertextuality that clearly reflected in the poetry of the 80
90 years have been defined. There have been traced such types of intertextual
connections: «coprescnce the text in text», paratextualitv, metatextuality and
hipertextuality. It was defined that intertextual story and images originate from mediaeval
legends and works of H. .lunger, G. Tabid/c, V. Blake, P. Pazolini, P. Picasso.
In lhe works of the poet there have been defined synthesized classical forms of
verse. The lyrics of N. Belotserkovets is characterized by using such genres: songs
(lullabies, solder, lyric, patriotic), cemetery poetry, ballads, elegies, letters, poems narrative, lyrical miniatures and confessions, verse allegory, political messages, free verse,
poetry confessions, sonnet.
There have been studied metaphors which are modeled through the concrete-sensory
images. The author has determined some kinds of metaphors: visual, auditory, gustatory,
tactile and odorative classes. The largest group of metaphor formations based on visual
sensations that due to the perception of information by man through the visual analyzer
has been considered. Not so many metaphorical images which are formed on the base of
hearing and taste associations that reflect childhood memories, the history of past
centuries, relations between people. Metaphors of tactile and odorative classes which have
both positive and negative features toughing upon problems of city life and loneliness of
being have been researched.
There have been revealed the most characteristic manifestation of form-content
unity of works, main features of artistic world of N. Belotserkovets, synthesis in her \erses
individual-author aesthetic ideas. The specific of key images, psychologism, mediativity
of poet’s lyric has been considered in the dissertation.
There have been researched the rhythm-melody of N. Belotserkovets’ verses that is
characterized by using a combination of different types of rhymes 2 and 4 iambic verse
sizes (iambic, trochee, dactyl, amphibrach). The difficulty of creating the rhythm poetic in
lyric of the 80 - 90 years has been traced. As for means of euphony, it has been defined
that used assonance, alliteration and refrain.
