The article is devoted to the sources of the formation of a linguistic persona of the future famous scholar, writer, translator, and polyglot – Ahatanhel Krymskyi. In the article there has been conducted an analysis of the communicative geographical and epistolary discursive area of A. Krymskyi at the times of his childhood and adolescence. These periods of his life we consider the decisive ones for his linguistic individualization and the definition of the parameters of a linguistic persona. The linguistic persona’s features were caused by the origin of A. Krymskyi (the Crimean Tartar roots, an intelligent family of a teacher of history and geography and a Polish Lithuanian noble woman), and his unique abilities (the boy learned to read at the age of 3 and a half, had a phenomenal memory, and an analytical brain). A great role was played by the multilingual and multicultural places of dwelling and studying, namely the following towns and cities: Volodymyr Volynskyi, Zvenyhorodka, Ostroh, Kyiv (such languages as Ukrainian, Russian, Polish, and Yiddish were spoken there and different ethnic cultures cooperated), Moscow (A. Krymskyi was surrounded by the Russian, Ukrainian, and other languages; a Ukrainian community was actively working), Beirut (in the city, the Arabic, French, Russian, and other languages were spoken; there was a unique environment of Eastern/Oriental cultures). The formation of a polyglot was favoured by the study of classical languages, Western European, Slavonic and Eastern / Oriental languages at the secondary and higher educational institutions. The evolution of scientific abilities of the specialist in the Ukrainian, Slavonic and Oriental studies was supported by the highly professional teachers (first of all Pavlo Zhytetskyi in Kyiv and Vsevolod Miller, Oleksii Veselovskyi, Ihnatii Krachkovskyi in Moscow). The communication with famous people (Ivan Franko, Borys Hrinchenko, Omelian Ohonovskyi, Mykhailo Pavlyk, Lesia Ukrainka and others) intensified the Ukrainian vector of the linguistic persona of A. Krymskyi. Creative possibilities of the linguopersona-writer and translator are reflected in his literary and translation heritage (the collection of poems “Palm branches” (1901, 1908), “The Stories of Beirut” (1906), the novel “Andrii Lahovskyi” (1905, a full version was published in 1972), translations of the poetry by Hafez, Omar Khayyam, Saadi, Ferdowsi, Turkish folk songs and others into Ukrainian and Russian.

The article focuses on the study of Taras Shevchenko’s linguistic identity through the free word association test results. The psycholinguistic experiment, “Author Neologisms of Taras Shevchenko,” held in 2019 involved four hundred forty-eight participants aged 14 to 61 y.o. Among them were professors, graduate students, and students from Rivne State Humanitarian University, Lesya Ukrainka Volyn National University, Sarny Pedagogical College, National University of “Ostroh Academy”, Rivne Economic Technological College, National University of Water and Environmental Engineering, Borys Grinchenko Kyiv University, and M. Ocheret Zhytomyr City Humanitarian Gymnasium #23 (Ukraine). The responses of the recipients to the word-stimulus снігоквіт/snihokvit (“snow blossom”), Shevchenko’s neologism, have been characterized based on grammatical (paradigmatic, syntagmatic, word-building), meaningful (thematic, reminiscent, reactions-personalities), and formal connections. The following semantic spheres to which the verbal responses belong have been defined: “Names of Flora”, “Natural Phenomena”, “Names of Actions”, “Colour Features”, “Haptic Features”, “Temporal Features”, “Abstract Notions”, as well as types of responses within the boundaries of associative fields. The specificity of a modern Ukrainian speaker’s perception of the meaning of a neologism taken out of the literary context has also been discovered. The authors have come to the conclusion that the poet created a highly artistic lexical neologism with the help of which he tried to communicate to the reader not only the primary meaning of the word лілея/lileya “white lily” (a flower) but also to provoke aesthetic feelings, and actualize the imagination about this special flower that is empowered with magic properties in the national linguistic map of the world. All the responses of the considered semantic spheres that belong to the associative fields of the author’s neologism снігоквіт/snihokvit give a better understanding of the lexicon of modern Ukrainian, the psycholinguistic peculiarities of the perception of Shevchenko’s figurative word. They also make it possible to trace specific changes in the conceptual map of the world and its perception.

У статті розглянуто художній образ Василя Єрошенка, створений у нарисі «Василь Якович. Класик японський», вміщеному в книзі художньо-документальних оповідань відомого українського письменника і журналіста Івана Корсака «Імена твої, Україно» (Луцьк, 2007). Автор зумів адекватно змалювати постать маловідомого нині письменника-гуманіста, тифлопедагога, поліглота, есперантиста В. Єрошенка, який мав українське коріння по батьківській лінії. Він писав прозу, поезію і публіцистику японською, російською, українською мовами та есперанто, добре знав англійську, японську, китайську, туркменську та інші мови. Незважаючи на сліпоту, Василь Якович побував в Англії, Німеччині, Бельгії, Індії, Бірмі, Таїланді, Китаї, Японії, Туркменістані, Фінляндії, на Чукотці, наприкінці життя повернувся додому, помер і похований на батьківщині – у слободі Обухівка на Білгородщині (тепер знаходиться на території Росії). Завдяки художньому прийому – спогадам приреченої людини – волинському авторові вдалося у стислій формі подати основні факти з життя митця, створити майстерний художній образ. Документи (відгуки, уривки з передмови до перекладів, газетні рецензії, спогади) сприяли унаочненню белетристично опрацьованого матеріалу, його достовірності та переконливості. Для посилення образу авторка статті використала приклади-ілюстрації, взяті з кількох текстів «Чукотських оповідань» В. Єрошенка – «Чукотська ідилія», «Чукотська легенда» і «Шахова триходівка». Вони засвідчують гуманістичні погляди письменника, любов і повагу до народів Півночі, що жили в гармонії з Матір’ю-Тундрою, та засуджують утручання чужинців-росіян із фальшивою комуністичною ідеологією, які призводять до руйнації віками усталених традицій у природі та в суспільному житті.

The article investigates the fi gurative language (words) of the biblical origin such as God, Jesus Christ, God’s Mother and other that obtained new national cultural meanings and became ethnologemes in the texts of Ukrainian folklore. The research is conducted on the basis of a great number of reference texts, written down mainly in the 19th – beginning of the 20th centuries. It was found out that the texts of oral lore are linguo-aesthetic signs of ethnic culture refl ect a mode of thinking of a nation at diff erent historical periods. It was pointed out that modern authors understand the meaning of such terms as a “word-image” and “language image” in diff erent ways and add their individual interpretations. Key words-images have been analysed in the context of the linguistic conceptual map of the Ukrainians in whom pagan and pre-Christian beliefs of our people are refl ected. It was discovered that Biblical words-images in the Ukrainian folklore were reconsidered and, as a result, it led to the changes in their forms and meanings. The analysis of the folk songs texts makes it possible to conclude that the word-images of Jesus Christ and God’s Mother are developed to the level of language images obtaining specifi c senses that are typical to a real man, a master/landlord, and a woman, a mother and a hostess/ landlady.

The article is devoted to the evolution, present state and perspectives of development of the Ukrainian linguo-folklore studies that are conducted by Sv. Yеrmolenko, N. Zhuravliova, A. Moisiienko, T. Betsenko, Y. Diadyshcheva-Rosovetska, N. Kolesnyk, R. Serdeha and others. The main aspects of the analysis of the language of the Ukrainian folk poetic texts of the period from the end of the 19th century until the middle of the 20th century were considered. They are historical linguistic, linguo-stylistic, linguo-didactic, linguo-cultural, ethnolinguistic, linguo-conceptual, linguo-semiotic. Two stages in the development of linguo-folklore studies were distinguished: 1) 60s — 80s of the 20th c., and 2) 90s of the 20th c. — the early 21st c. It was pointed out that the Ukrainian linguo-folklore studies had already evolved into a separate branch of philology and an educational course with its own object (a linguostructural, artistic-figurative organization of folkloristic texts of various genres, peculiar features of a folkloristic style formation), and subject of research, tasks and trends. There were mentioned the present day approaches to the analysis of folk poetic texts, being based on the language layers (folklore stylistics of language units), language expressive means (folklore stylistics of language expressive means), genres (folklore stylistics of genres) and separate parts of linguistics. The following perspectives of the linguo-folklore studies were defined: the analysis of understudied language units and figurative means, used in the texts of various genres (not only the traditional but new ones as well), development of a folklore lexicography, folklore dialectology, folklore linguo-cognitology, folklore linguosemiotics, folklore communication, linguo-genderology, contrastive linguo-folklore studies, and other trends, as well as a wider application of modern systems of an automatic analysis of texts, dictionaries’ compilation, and data creation.