У статті досліджено інтертекстуальну взаємодію стилістем,
що в художніх творах І. Котляревського і П. Загребельного
репрезентують поняття «сміхова культура». Виявлено мовно-
естетичні знаки в епічній бурлескно-травестійній поемі «Енеїда»
І. Котляревського, які функціонують як цитати або слугують
зразком для творення виражально-зображальних засобів –
носіїв гумористичної аксіології в мові романів П. Загребельного.
Індивідуально-авторські риторичні фігури прозаїка комплексно
проаналізовано в межах лінгвостилістики, етнолінгвістики, теорії
інтертекстуальності, літературної ономастики.
The article explores the intertextual interaction of stylists, who in the
works of I. Kotlyarevsky and P. Zahrebelny represent the concept of «laugh
culture». The linguistic and aesthetic signs in the epic burlesque-travesty
poem «Aeneid» by I. Kotlyarevsky, which served as a model for the
creation of expressive and pictorial means – carriers of humorous axiology
in the language of a number of P. Zahrebelny’s novels, are revealed.
Attention is drawn to the fact that the foundations for the formation of a
ridiculous culture as a genre segment of Ukrainian literature are laid in the
poem «Aeneid» by I. Kotlyarevsky, which is written in a syllabic-tonic
verse (iamb) – the size most appropriate for the Ukrainian language. The
linguistic and literary traditions of ridicule are at the heart of the humorously
narrative tonality of P. Zahrebelny’s two novels – «The Lion’s Heart» and
«Exile from Paradise», which form the thematic-storyline. It is emphasized
that the figure of I. Kotlyarevsky is a significant creative personality for P.
Zagrebelny, who often appeals to the creator of the creator of Ukrainian
literary language in his prose. The novelist dialogues with the artistic texts
of the laughingstock, introducing meaningfully expressive fragments of
them into the intersemiotic field of prose works. The intertextual interplay
of linguistic components of the individual-linguistic paintings of the world
of two writers can be traced in the functional and structural-semantic
similarity of a number of style word, which are often the result of stylistic
reception of the language game: intertext (linguocultural and ethnolanguage
characters), literary and artistic anthroponyms, as well as wordssymbols,
which are functionally significant components of the peripheralevaluative
sphere. The individual and authorial rhetorical figures of P.
Zahrebelny are comprehensively analyzed within the limits of linguistics,
ethno-linguistics, theory of intertextuality, literary onomastics. It has been
concluded that the linguistic creation of the prose contains an important
humorous-axiological segment of artistic narrative, which is organically
incorporated into the context of Ukrainian laugh culture.
