IMAGONYMIC OBJECTIVENESS OF THE RELATIONSHIP BETWEEN SPACE AND ITS IMAGE IN AVANT-GARDE VISUAL ART

Abstract

The purpose of the study is analysis of imagonyms as a means of revealing the relationship between space and its image in the paintings and graphic works of Ukrainian avant-garde of the 20th century. It is emphasized that the combination of the image’s abstractness and the concreteness of the work’s name contributes to the conceptualization of the depicted space. The names of pictorial and graphic works are grouped in order to analyze their semantic load. The article uses the method of contextual-interpretative analysis to actualize the role of imagonyms with locative semantics as linguocultural units. The descriptive method was used to describe the components of the linguocognitive category of space, present in the titles of art works. The linguostatistical method consists in recording the number of imagonyms, classified according to the locative components contained in them: «territory», «extent», «field», «surface», «place», «dimension» etc. The grouping of imagonyms was carried out taking into account the idea of the category of space as a set of three systems: 1) a territory with material objects without clear material boundaries; 2) a container, a closed space, limited by human activity, nature; 3) a territory without restrictions, the knowledge of which is impossible in a perceptual way. Imagonyms are grouped according to the principle of functional and semantic similarity based on the segmentation of the depicted reality. The transfer of the objectification of the relationship between space and its representation in avant-garde visual art is realized through the paradigm of lexemes with locative semantics, contained in imagonyms. The multilevel structure of the concept «space» («three-dimensional extent», «area», «length», «measure», «area of the earth’s surface», «surface of something») determines the presence of variants of combining locative lexemes in the studied imagonyms. It has been proven that the connection of the imagonyms’ semantics with universal concepts, such as the concept «space», positions Ukrainian imagonymy as a set of units, mentally belonging simultaneously to language and to art.