ВИРАЖАЛЬНИЙ ПОТЕНЦІАЛ СЛОВА В ЛІТЕРАТУРІ ФОРМАЛЬНИХ ОБМЕЖЕНЬ

Abstract

Formal constraints are inherent to literature since its beginnings. Every author has to solve the problem of choosing the fi tting lexical options from the multitude of lexical and semantical variants. Focusing on a certain topic or the desire to express thoughts and emotions of a certain directivity immediately shape the necessity of con-straints for the author. Creative freedom and the perceived constraints form a dialectic pair and paradoxically contribute to the true enrichment of the literary genre. The key focus of the advocates of Oulipo are theory and practice of constraint. The received results of the creative work allow to intensify the observations of word and language as objects of boundless attention. Through lingual experiments and ver-bal discoveries, it has been possible to approach the understanding of the world and the person in it oftentimes in the form of play.The work on language and its potential inventory continues since the founding of Oulipo and till today. The authors strive to research spoken word and written word graphics resources. Through combining seemingly incompatible things (poetry and mathematics, the funny and the serious, strenuous work and lighthearted play), the collision of diff erent contexts and senses occurs. Totally new senses that manifest the limitlessness of literary art are born and burst.The interest in formal structures and verbal experiments is most often seen on the col-lision point of diff erent literary phenomena or epochs. The following conditions are crucial for the functioning of constrained writing: 1) the presence of the original (preferably but not necessarily precedent) text; 2) architectonic and semantic transformation of the initial text; 3) experimental and creative nature of contemporary author’s work; 4) intensifi cation of intellectual communicative game; 5) cultivation of appendant and additional complexities.