PHONICS OF POETIC LANGUAGE IN THE ASPECT OF IDIOSTYLE RESEARCH

Modern Ukrainian literary criticism defines phonics «as a sound organization of poetic language; poetic means that give melodiousness to the lyrical work enhance its emotionality and expressiveness. In a broad sense, phonics is a branch of literary studies (poetry) that highlights the aesthetic function of sounds in a literary text as certain sound integrity which analyzes and classifies them accordingly; in a narrow sense, phonics is the certain phonic properties of the work of a stylistic trend as well as the direction in the work of an individual author. As a section of phonetics, at the same time, phonics defines deviations from phonetic language norms, which have an aesthetic value» [1]. Literary and linguistic explorations of the study of the sound composition in poetic texts have formed a modern understanding of phonics as a separate branch of poetry and defined its means and basic functions. The study of the sound organization in a poetic language is expedient in the aspect of the idiostyle research. Increased phonemic frequency in poetic texts serves as a constructive component and determines the artistic and stylistic features of the work. Sound repetitions in poetic texts is an interesting aspect from the standpoint of studying both the author's reception and the reader's perception. After all, «repetition language system, which itself as at levels. The category of at the sound level is inherent and plays a special poetic movement spatial repetition (inversion) and universal law poetic work construction the basis of its style»[2].


UKRAINE
Modern Ukrainian literary criticism defines phonics «as a sound organization of poetic language; poetic means that give melodiousness to the lyrical work enhance its emotionality and expressiveness. In a broad sense, phonics is a branch of literary studies (poetry) that highlights the aesthetic function of sounds in a literary text as certain sound integrity which analyzes and classifies them accordingly; in a narrow sense, phonics is the certain phonic properties of the work of a stylistic trend as well as the direction in the work of an individual author. As a section of phonetics, at the same time, phonics defines deviations from phonetic language norms, which have an aesthetic value» [1]. Literary and linguistic explorations of the study of the sound composition in poetic texts have formed a modern understanding of phonics as a separate branch of poetry and defined its means and basic functions.
The study of the sound organization in a poetic language is expedient in the aspect of the idiostyle research. Increased phonemic frequency in poetic texts serves as a constructive component and determines the artistic and stylistic features of the work. Sound repetitions in poetic texts is an interesting aspect from the standpoint of studying both the author's reception and the reader's perception.
After all, «repetition is a multifunctional phenomenon of the language system, which manifests itself as an independent formation at different levels. The category of repetition at the sound level is inherent both to language and speech, but it plays a special role in the poetic text, as it provides the movement of spatial repetition (inversion) and is a universal law of poetic work construction and the basis of its style» [2].
Based on scientific literary and linguistic investigations of past centuries, the study of the sound composition in poetic text identifies the main functions of sound repetitions in poetic language: expressive-pictorial, emotional-expressive, soundimitative, semantic, and compositional.
The first thorough scientific research in the field of sound organization in poetic language was carried out by Ukrainian literary critic I. Kachurovsky. In the early 70's he developed a course of lectures, and in 1984 he published a separate textbook named «Phonics» [3]. Thus, he singled out phonic phenomena in the poetic text as a separate branch of poetry.
I. Kachurovsky interpreted phonics as «a branch of literary criticism that studies and classifies the sound of a literary, primarily poetic work as a certain sound integrity» [3]. He identified and systematized the main components of the sound organization in poetic text: euphony and cacophony, transparency and opacity, rhyme and its structural and aesthetic value, types and functions of rhyme, types of alliteration, assonance and dissonance, onomatopoeia, symbolism and mysticism of sounds, rhyming coefficient and coefficient of the sound organization in a poetic language specifically.
In his work I. Kachurovsky applied a comprehensive approach to the scientific study of the sound organization in poetry, by adding hermeneutics as a means of interpretation of certain phonic concepts and quantitative statistical indicators which substantiate phonetic phenomena in poetic language. Such research helped to form phonics as a branch of poetry and literary studies in particular.
The study of the sound organization in poetic language in modern philological science not only deepens the characteristics of individual authors' literary works but also gives a comprehensive picture of the functioning of phonics in poetry in different periods and outlines the connotative potential of phonic (phonetic) means of Ukrainian language.