The author of the article explores the individual linguistic style of Ivan Semenovych Drobnyi, a writer of the Sixties from Cherkasy region, in particular the language of his poetic texts. It is determined that the poet’s style represents the linguistic aesthetics of Ukrainian literature of the second half of the twentieth century, and the stylistic feature of I. Drobnyi’s language thinking reveals the connection of verbal associative images with realities, phenomena of Ukrainian nature, history of the native land, environmental problems and the inner world of a person in love with his land. There is a renewal of traditional poetic metaphors (the book of nature). The poet reads the book of the farmer, and compares the grains of poetry to the golden grains of the field. A conversation with nature always ends with a clear aphoristic thought that reveals broader, sometimes unexpected connections between words and concepts that acquire symbolic meaning. The contexts of aestheticization and symbolization of such individual linguistic images as rainbow, rain, willow, path are highlighted, the associative field of which is expanded by the author with the concepts of modern reality. The author interprets the meaning of the original poeticized image of winter crops as a symbol of the dying and resurrection of nature. The tradition of the Ukrainian poetic word combines the concepts of the rainbow and the Dnipro, but only in the poetry of Ivan Drobnyi the entire rainbow is «according to Vasyl Symonenko». The author emphasizes the simple, uncomplicated rhythmic and intonational structure of the poem, the song folk rhythms in the poetry of I. Drobnyi and at the same time records the transitions in it from the high poetic word to the lyrical confession, from philosophical reflections to evaluative, witty statements filled with colloquial phrases. The article concludes that the poetic language of the Cherkasy region writer Ivan Drobnyi is a grateful source of research on the problem of STYLE AND MEMORY. With his lyrical texts, the poet draws attention to the richness of the Ukrainian literary language, makes us think about the historical variability of the lexicon of human civilization and about eternity, the value of the fundamental connection between man and the «eternal writings» of nature. His philosophical reflections on the agricultural culture of Ukrainians, the history and nature of his native land, often embodied in a perfect aphoristic form, enrich the vocabulary of linguistic and aesthetic signs of Ukrainian culture, and actualize precedent names and precedent lexemes, phrases of the Ukrainian language. Ivan Drobnyi’s individual style preserves the memory of the folk style of Ukrainian poetic language, which organically combines the linguistic aesthetics of folk songs and the philosophy of folk conversation.

Rusanivskyi’s scientific works on grammar, lexicology, lexicography, spelling, history of Ukrainian literary language, sociolinguistics, as well as philosophy of language, theoretical and practical issues of Slavic studies represent the level of development of Ukrainian linguistics of the second half of XX – early XXI century. The overarching idea of the author’s research is the search for new aspects of language cognition due to the ontological and epistemological nature of this object. The first studies are devoted to the history of the Ukrainian language, namely the study of grammatical categories of type and time in the Ukrainian language of the XVI – XVII centuries. In the landmark work “Structure of the Ukrainian verb” on a large factual material, the researcher traced the structural changes (variance of the morpheme composition) of verbs in different time sections of the Ukrainian language. The most expressive among the constants of the linguist’s scientific style is attention and constant reference to lexical semantics, to the meaning of a word in a dictionary and in specific texts. The author traces and theoretically substantiates the tendencies of movement in the immanent semantic structure of the vocabulary of each natural language. It is this tendency that explains V.M. Rusanivskyi’s constant appeal to the structural-semantic analysis of T. Shevchenko’s dictionary of language, to the disclosure of the semantic depth of the word in his texts. Without claiming a comprehensive analysis of the constants of Rusanivskyi’s scientific style, we emphasize the heuristic value of the following authorial concepts: a) representation of grammatical categories of verbs as the unity of form and meaning of a language unit; b) the interaction of lexical and grammatical semantics at all levels of language structure; c) constructive interaction of functional and expressive styles in the history of literary language; d) the history of the formation of the literary norm of the Ukrainian language; e) development of the Ukrainian literary language in the context of system-structural, functional-communicative and extralingual factors.

The article offers an analysis of the profound connections between the literary works of Skovoroda and Shevchenko. It traces a link between Skovoroda’s philosophy of the heart (cardiocentrism) and Shevchenko’s heart prayer and verbal prayer. The scholars’ world views were formed by different times and existing cultural and social norms. They received different education and suffered dissimilar fates. Shevchenko was critical of Skovoroda’s writing style, believing that it negatively influenced the language of Kotlyarevsky’s “Eneida.” However, Shevchenko carried on Skovoroda’s concept of the traveling Ukrainian philosopher, the idea of the heart, and the philosophy of human happiness into his own poetic works expressed through Ukrainian folk language. The article highlights inter-textual connections between Skovoroda and Shevchecnko’s literary works. It concludes that the language of literary works, scholars, and education is tied to the national and social self-awareness of the nation.

The article offers a linguosophical approach to the artistic linguistics of A. Krymskyi, historian-orientalist, writer (prose writer and poet), polyglot, philologist, translator. More than a hundred years have passed since A. Krymskyi wrote the novel “Andriy Lahovskyi”, and the author’s artistic narrative is of interest not only to historians of Ukrainian literature, but also to culturologists, psychologists, and language historians. The analysis of the artistic narrative of the Krymskyi as philologist is carried out in the following aspects: linguistic and structural characteristics of the text (vocabulary, phraseology, syntax) in comparison with the literary norm of modern Ukrainian, pragmalinguistic modeling of markers of the society represented by linguistic portraits of characters. characters. The conclusion about the interaction of colloquial and book (foreign language borrowings) sources in the modern reception of the history of the Ukrainian literary language of the end of the XIX – the beginning of the XX century is made. Numerous foreign words-terms, in particular in the field of psychiatry, are indicative of A. Krymskyi’s artistic narrative, especially when it comes to the state of the character’s psyche. foreign terminological vocabulary contrasts with the emotionally expressive content of colloquial structures, Ukrainian phraseology and interspersed foreign language mintexts. Text markers of social stratification of society include psycholinguistic evaluative statements of the author about the situational behavior of the characters. A. Krymskyi’s artistic narrative reveals signs of the author’s philological thinking, his constant attention to the explanation of the meanings of words, to the translation of foreign names. A significant number of lexical, word-forming, grammatical variants of the Ukrainian language are recorded in the individual style of the writer. Comparing them with lexicographic sources reveals the author’s preferences, time markers of the dynamic literary norm of the late nineteenth – early twentieth century.

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