FIGURATIVE-SEMANTIC PRAGMATICS OF NATIONAL PROPER NAMES IN V. VYNNYCHENKO’S PROSE DISCOURSE

Abstract

The problem of the functioning and role of proper names in a literary text has been the object of attention of many researchers. However, the issue of the national markedness of onyms, which distinguish the realities of life and the era, remains poorly studied and contains hidden connotative layers. This factor determines the relevance of the present study, which aims to analyze the functions of nationally marked proper names in the prose discourse of V. Vynnychenko, identify their expressive and stylistic features, and clarify their role in creating the characters and the main text categories — artistic time and space. The object of the study is the onymic space of the writer’s prose works. The subject of the research is poetonyms, which represent nationally marked nouns in the artistic speech of V. Vynnychenko, their connotative and functional content. The research has been conducted on the material of the writer’s literary texts — stories, novellas, and novels (“Deposits of Gold”, “New Commandment”, “Balance”, “Eternal Imperative”, and “Leprosarium”). The research methodology is based on the linguistic description with elements of component analysis and the contextual-interpretative method. The originality of nationally marked onyms has been highlighted, and their role in plot development, character creation, and the disclosure of the author’s intention has been demonstrated. It has been proven that foreign-language proper names constitute a significant group of names in V. Vynnychenko’s prose works; these nominations are a vivid reflection of the national-linguistic picture of the world and are one of the defining ways of individualizing the ethnic group. The author uses them in accordance with his artistic intention, plot structure, and thematic features, for artistic and expressive purposes. It has been found that the national marker in the writer’s works is an important part of the author’s artistic palette, and functions as an indicator of many features that the writer comprehensively uses, which allows him to concisely and artistically perfectly depict numerous images, give them characteristic features, and build the main textual categories of time and space. The prospects for future research lie in a more thorough analysis of V. Vynnychenko’s poetonymy, which may contribute to broader generalizations in the field of relevant linguistic and stylistic issues and requires in-depth study.