Features of the use of phraseological units in rock works (based on the material of V.R. Tsoi's cycle "Black Album")

Abstract

In the article the author discusses phraseological units in the perspective of their transformation and use in the artistic text of rock poetry. The issues of semantics, specifics of changes in form and content in the intermediate aspect are investigated. Rock poetry is an art form that combines verbal and non-verbal aesthetic means of expression in its structure. In this paper, the ways of manifestation of the author's identity of Viktor Tsoy in the use of phraseological units and their occasional variants are determined. The last album of the poet, which was released posthumously, but reflected new trends in the author's poetics and presented the use of folklore elements, thus showing the desire for the folk element, is considered as the material of analysis. In this case, the peculiarity of rock poetry is also important — the focus of the artistic word in this context on sound, on oral reproduction, representation in the interaction of means of different arts. On the other hand, traditionally, researchers also determine the attitude of rock authors to colloquial speech, to proximity to the folk context. In particular, the use of phraseological units proves this position. The intermediate structure of rock compositions introduces its transformations into the semantic content of phraseological units within the framework of the author's intentions. For the rock author, the aspiration to understand the place of man in the universe, his uniqueness and at the same time inclusion in the historical reality, in the folk element, is a significant incentive for the discovery and presentation of his own artistic world, the path of his creative development and, in general, cognition. Thus, the private and the general interact, the individual life of a person and his social reality in the context of being.