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Аbstract. Introduction. The study of Iryna Fotuima’s writing style makes it possible to trace the
demonstrative means and methods of expression of the contrast as a manifestation of the individual style.
The variety of oppositions forms a special poetic picture of the world, which figuratively conveys the
palette of feelings, their polarity.
Purpose. The purpose of the research is to examine the lexical-semantic expression, syntactic
design and functional load of contradictions in the language of Iryna Fotuima’s poetry included in the
collection “Tryvki rubezhi” (2021), having defined the author’s specific guidelines.
Results. Among the stylistic methods of verbalization of opposing relations, the antithesis prevails.
In I. Fotuima’s poetic texts this figure is formed within a simple sentence by closed homogeneous lines
with the semantics of mutual exclusion, the sequence of phenomena. The opposition of attributive and
predicate syntaxemes concerns the modification of the same verbal image.
In the studied lyrical texts, different types of antithetical relations are realized mostly within
complex sentences and supra-phrase units. Even if the basis of contrast is formed by common antonyms,
the poetess semantically complicates the created image (by syntagmatic opening, the introduction of
comparative constructions). Verbal images based on two-, three-part antithesis are used, in which case
we may observe the antithetical parallelism, which creates the density and fury of the poetic image.
The antithesis in I. Fotuima’s poetry functions in various predicative parts of a complex sentence
that forms a stanza. Quite often the antithesis placed in the first predicative part serves to unfold the
verbal image; can be formed at the end of a complex sentence as a kind of generalization. Sometimes
contraposition becomes a kind of framing. For some poetry, different types of contrasts are the leading
compositional technique. Implicit contrasts, paradoxical meanings often generate contraposition.
Originality. In the lyrical texts of the poetess, one-syllable antitheses are realized mainly within
homogeneous parts of the sentence, sometimes by object extenders to homogeneous predicates, as well as
predicate and attributive syntaxemes. The poetess semantically complicates the contrasting images with
common antonyms. I. Fotuima tends to create original antitheses, the centre of which is a multi-part
contextual antonymy. In the studied texts, detailed metaphorical images based on contrasts are embodied
mainly in complex syntactic constructions, as well as within supra-phrase units. The antithesis is
enhanced by gradations, repetitions, parallelism, chiasm. Oxymoron images acquire a special expression.
Sometimes implicit contraposition has paradoxical semantics. Quite often the semantics of contrast are
expressed by author’s individual comparisons. Antithetical images, depending on the position in the
stanza, serve to unfold or generalize poetic semantics. At the same time, for some poetry the
contraposition becomes the leading text-making technique.
Conclusion. Iryna Fotuima’s intimate lyric poetry testify to the richness of linguistic images built
on opposition, which is an indicative feature of her individual style. The author’s antitheses are mostly
polynomial, the antithetical relations are realized by the original contextual antonymy. The detailed
metaphorical images created on contrasts are embodied mainly in complex syntactic constructions. At the
heart of several poems in the collection is a thorough contraposition. Modern poetry provides rich
material for tracing the patterns of expressive syntax.

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