About the Originality of the Manifestation of the Aesthetic Function in Modern Dramatic Discourse

Abstract

The article focuses on one - the key, in the author’s opinion - aspect of the analysis of the modern dramatic work, which allows to demonstrate the peculiarities of the aesthetic function in the works belonging to this literary genus: the consideration of the principles of the organization of the playwright of the compositional and speech zone of the characters. It is this part of the dramaturgic discourse, leading in the content-conceptual plan and prevailing in the spatial relation, that is seen as the most significant for the interpretation of the play as a fact of verbal art with the unconditional consideration of the syncretic character of dramaturgic form. The relevance of this topic is due to the fact that, despite the significant success of modern philology in the study of the specifics of artistic speech, dramatic speech is still the least studied of its sphere. The purpose of research - analysis of dialogical spheres of contemporary plays versus not artistic dialogue and partly as a dialogue in prose, allowing you to set the number of features forming the identity of contemporary dramatic dialogue speech. The material for the observations was the play of the modern author E. Cherlak «Mortgage and Vera, her mother» (2011). In the interpretation of the materials used methods: observation, compositional, contextual and semantic-stylistic analysis. In addition, the conducted observations suggest that the analysis of the manifestations of aesthetic function in the works of drama should be carried out taking into account the textual nature of this compositional and speech sphere, as well as paying special attention to the author’s principles of its system organization, since this approach helps to identify not only the distinctive characteristics of dramatic speech, but also the features of the individual author’s handwriting of the playwright.