VISUAL PERCEPTIVES IN INDIVIDUAL LANGUAGE STYLE OF VASYL STUS

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VISUAL PERCEPTIVES IN INDIVIDUAL LANGUAGE STYLE OF VASYL STUS

Journal Title: Scientific journal «International Journal of Philology» - Year 2018, Vol 1, Issue 281

Abstract

Each person perceives the external world through his own personal and sensual experience and the plethora of colors, sounds, smells, touches etc. Such experiences are structured in space and time and engaged in organization of human psychological life as elements of internal world. Perception process is never performed on an elementary basis, but is rather determined by higher level of psychic activities, specifically, by language. Language as one of the tools to experience the environment helps summarize, process, and generalize all information we received through sight, hearing, smell, touch and taste, i.e., by knowledge obtained through perception of the world with our senses (sensual experience), and by knowledge obtained by substantive activities and thinking operations. Vasyl Stus experienced the world in a remarkable way. His individual creative manner distinguishes him among other language masters, representing individual worldview through separate specific language means or their distinctive use by the author. The objectification of sensual perception is being currently studied, i.e., the artist’s color range containing the features of its creator. Basic source of Stus’ sensual image are visual experiences, where visual vocabulary oriented at red color range (red (“червоний”), purple (“багряний”), pink (“рожевий”), crimson (“черлений”), ginger (“рудий”)) covers the major part of language space and opens positive, neutral and negative connotations outlining specific individual author’s view. Cognitive and mental intentions in artistic space of V. Stus represent perception of the red color common for Ukrainian culture and individual author’s interpretation of the red creating the real world picture. Stus’ system of images has a deep meaning formed at historical and philosophic background of the Ukrainian nation: red color is a traditional symbol of love, happiness and hope strongly affecting human views; this color represents the bright element of fire and is associated with one of the greatest human feelings – true and mutual love. Red color of V. Stus is the life itself, the inseparable blood ties. There is every reason to talk about semantic opposition of positive (red love (“червона любов”), red word (“червоне слово”), red days (“червоні дні”)) and negative intentions (red blood ("red blood”), red-blooded (“червонокрівці”), red payment (“красна плата”)) within one color paradigm, where negative meanings play a special role in the structuring of experience knowledge, in reflection of the internal artist’s state, symbolizing anxiety, anticipation and helplessness. Negative symbolic meaning of the red color is associated by V. Stus with those who carry foreign ideology hostile to the author, i.e., the Soviet system, mostly anti-humanist. Individual author’s modeling of V. Stus’ picture of the world is expressed through a set of semantic and stylistic comparative functions, epithets, repetitions, phraseological units, metaphoric reframes and other language means as the coding element of meaning based on associative experiences of the author. The latter is an important tool for imagery demonstrating the subject portrayed from an unexpected angle: they initiate specific signs, convey emotional expressive shades of the meaning, serve as additional features of external world as the expression of psychological state of a lyrical hero and demonstrating author’s attitude towards the images portrayed. Language units representing author’s intentions play a constructive role in formation of semantic space in literary text. Verbalizers of the red color functioning in poetic texts of V. Stus may be viewed as markers of individual language style as they directly explicate relevant parameters of humans, space, time, place, and introduce certainty to subjective-objective areas of poetic world created by the artist. ‘Processed’ by the author, the latter not only preserve their meaning, but also acquire new intentions making them relevant for subsequent prospects of multi-aspect analysis.

Authors and Affiliations

T. F. Semashko

Keywords

author’s type coloristics system semantic structure due to cultural and linguistic unity

EP ID EP365110
DOI -
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