Cтереотипи української етносвідомості у візуальному секторі поетики (на матеріалі текстів балад Тараса Шевченка)

Abstract

Abstract. In the context of clarifying the patterns of construction and perception of text units of wide application, a comprehensive analysis has been made that provides comprehension of the deepest structures of poetic language. The thesis that « the text does not exist outside of its creation and perception» that « the literary work is realized in the mind, in the perception of the reader», give an understanding of the text structure as a dynamic data, each element of which takes on different sections of social, scientific and cultural development. more or less actualization. Ethnic stereotypes, in particular, perceptual ethnostereotypes, which provide new data on the peculiarities of the world's categorization of the creative person, its outlook, as well as socio-cultural, mental, verbal dominant ethnic groups, to which the word artist belongs, play a role in this process. At the same time, ethnostereotypes are the result of systematization of phenomena in consciousness, and reliable information about them can only be obtained if the study of the extremely complete system of linguistic facts that reflect the peculiarities of the personality worldview, which is possible only if the poetic speech of the classics is studied. Taras Shevchenko, whose individual creative way distinguishes his language among other speakers, reflects the individual worldview through specific linguistic means or original author's use of them, by his unique way of knowing the world. At the time of study of the objectification of the zone of the visual sector, the perception of the contents - the color space of the artist - and their verbalization in the stereotypes of the Ukrainian ethno-consciousness. In linguistics, the lexical-semantic field of sensory perception forms a peculiar subsystem of lexical units that help to reproduce and verbally transfer feelings and feelings from the perceived environment, reality and the world as a whole. However, the sensor is one of the main means of representing the author's linguistic picture of the world. The highest frequency of use of sensorizm is in the structure of poetry, since the beauty of poetry is revealed in a high concentration of sensory images. Due to the versatility of the conceptual sphere of sensory perception, the sensory component in the context of a poem work serves as the semantic denominator to which language pictures of the world can be reduced. The lexico-semantic field of color in the poetry of Taras Shevchenko is limited to the traditional palette of color attributes (the study of the visual sector of the sensory-somatic map of the poetic language of the Shevchenko's ballads makes it possible to distinguish the dominant field of coloring white and black), the choice of which is based on the linguistic and poetic conception of perception of the world by the author and the traditional interpretation. symbols of the corresponding color names represented by the semiospheres of Ukrainian mythology and folklore. Shevchenko appeals to objects that are connected with visual impressions, which are firmly entrenched in these subjects and have acquired a symbolic generalization or figurative meaning on the basis of creating a complex image, based on visual associations. In the poetry of Taras Shevchenko, a number of speech intentions are implemented, among which distinguish cognitive-mental intentions related to the deep-seated structures of consciousness, the mental representation of the world and human intellect, the linguistic personality of the author, and those material manifestations that reflect the individual-author's picture. the world. Thus, the verbalizers of the color names, which function in the texts of Taras Shevchenko's ballad, objectivize the poet's meaningful information for the reader, while producing the perception of the reaction of the poet programmed.