STRUCTURAL AND SEMANTIC FEATURES OF NATIONALLY MARKED NOUN NEOLOGISMS IN TARAS MELNYCHUK’S POETRY

Abstract

Introduction. To form modern national-cultural identity discourse under the conditions of existential struggle, relevant are linguopoetic studies dealing with the such features of author’s linguistic mind which have comprehensive national-cultural marking.
Purpose: To analyse, basing on the structural-semantic analysis of the author’s individual nationally marked substantive composite words, the folklore roots of the author’s linguistic mind as a sign of an original individual style.                  Originality: The scientific novelty of the research results is that it is the first study of structural and
semantic features of stem-composition noun neologisms in Taras Melnychuk’s poetic texts. The work also decodes deep senses of the images belonging to national-cultural dominants.
Results: It is observed that original ethno-marked neologisms in the poet’s language are a group of
substantive composites formed according to the ‘noun + noun’ word-building type, where an interfix serves as a formal sign. In the poet’s language, such neolexemes are mostly occasional nature at both the derivational and semantic levels, thus requiring special decoding to determine deep senses.
The study identified a productive word-building type of stem-composition – ‘noun + noun + suffix’ – characterised by imbuing negatively connoted images with diminutive meaning. This represents a powerful emotional-psychological technique contributing to the synthesis of traditional and modern styles.
A structural-semantic shift was identified at the level of stem-composition with simultaneous zero
suffixation (‘noun + verb + zero suffixation’), consisting of the poet’s creation of composites with abstract semantics, in contrast to standard formation.
Original neolexemes formed by stem-composition with simultaneous suffixation (‘noun + verb +
materially expressed suffix’) are also described. These neologisms are formed by lexemes that acquire symbolised-sacral characteristics within ritual and song creativity.
Conclusion: The research shows that the poet actively uses stem-composition to create neologisms basing on both the folklore models that serve as linguistic-aesthetic signs of national culture (folk poeticisms and mythologemes) and the trends within the poetic discourse of the Sixtiers. Such worldview orientation of the artist fully contributes to the assertion of Ukrainian identity and requires further in-depth study.