Abstract
Introduction. This article focuses on the axiologically tinged notional implications which are characteristic of English romantic poets’ cognitive style. These implications are revealed via a comprehensive analysis of aesthetic evaluation which is verbalized in poetic texts and by modeling the conceptual space of aesthetic evaluation THE BEAUTIFUL / THE UGLY.Purpose. The paper aims at revealing the axiologically marked meanings specific to the cognitive style of the English romantic poets by modeling the conceptual space of aesthetic evaluation THE BEAUTIFUL / THE UGLY in English romantic lyrics.Methods. The poliparadigmatic methodology of the research combines three approaches: linguocultural, linguopoetic and cognitive.Results. The paper suggests the identification of axiologically charged literary concepts, the construction of the conceptual space of aesthetic evaluation THE BEAUTIFUL / THE UGLY as a two-layer model (notionally-evaluative and figuratively-evaluative). Each layer is modelledin a particular way (as a frame, as a notional field or in terms of conceptual metaphor), which has made it possible to determine the notional implications characteristic of the all-human, ethnocultural and poets’ evaluative worldviews as embodied in English romantic lyrics.Conclusion. The aesthetic priorities of the English romantic poets – fear, God, life – and their close interconnection and interdependence are revealed, which makes it possible to determine the quintessence of the romantic poetic worldview: human life, in which the fear, determined by the will of God, prevails. The ambivalence in the evaluative attitude of romantic poets to life, as well as their understanding of God and fear as its determinants, is based on the moral norms of mankind and the culture of the English nation. The overall gloomy coloring of the author's evaluative worldview is determined by a sharp negative social aesthetic assessment,but the unconventional interpretation of life as good, a strong faith in the bright future, peace and progress testifies to the difference of poets’ world evaluation from the societal aesthetic assessment of the era of global transformation.
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