У статті акцентовано на ролі «Енеїди» І. Котляревського у
репрезентації кодів культури загалом та в ментальному просторі
української культури зокрема, у відображенні фрагментів
національної картини світу в аспекті специфіки етнічної свідомості,
міфологічної та сміхової культури. Поему схарактеризовано крізь
призму категорій прецедентності й інтертекстуальності, у площині
взаємодії «свого» й «чужого» в межах художнього дискурсу.
The article focuses on the role of I. Kotlyarevsky’s “Aeneid” in
the representation of cultural codes in general and in the mental space
of Ukrainian culture in particular, in the reflection of fragments of the
national picture of the world in terms of specificity of ethnic consciousness,
mythological and laughter culture. It is evidenced that the reconstruction
of the national-linguistic picture of the world, represented by “Aeneid”,
should be continued in the coordinates of the mental-lingual complexes.
Among these complexes precedent phenomena are distinguished. They
serve as markers of a particular linguistic culture and at the same time they
are illustrative material of intercultural communicative interaction.
The poem is characterized through the prism of the categories of
precedence and intertextuality, in the plane of interaction between “one’s
own” and “somebody else’s” within the limits of textual discourse. The
precedent phenomena (precedent text, precedent situation, precedent
saying, precedent name) are differentiated into universal and national
precedent ones, the latter of which are considered as those, that contribute
to the establishment of national identity and separateness of the Ukrainian
linguistic community. It is revealed thepeculiarities of the formation of the
speech subculture, available in the minds of native speakers in the form of
certain borrowings, in particular from the texts of oral folk art.
The national consciousness accumulates born in the society attention to
the common people, the peculiarities of their life and culture, decoding of
which happens due to the updating of the categories of intertextuality and
precedence as well. In his own way ingenious I. Kotlyarevsky demonstrates
an unbridled desire to bring the reader closer to the essence of the national
spirit and national worldview, with linguistic means and techniques attests
the indissoluble connection of time and generations, turns descendants to
the origins of the world and national culture, in particular to oral folk art.
