THE CONCEPTOSPHERE OF THE NATIVE LAND IN D. FALKIVSKY’S CREATIVITY

Abstract

The article provides a comprehensive literary analysis of Dmytro Falkivsky's poetic heritage through the lens of cognitive poetics. The study's relevance stems from the need to examine in depth the individual-authorial worldviews of the «Executed Renaissance» artists, whose work has long been viewed primarily in biographical or ideological contexts, with insufficient attention to their internal mental processes. The aim of the work is to reconstruct the conceptosphere of the native land as a key segment of the poet's consciousness, formed by the tragic split in personality between the social roles of a «peasant» and a «Chekist». The study establishes that D. Falkivsky’s conceptosphere of the native land is a dynamic structure that performs protective and compensatory functions in response to the traumatic experiences of the era and to alienation in urban space. The research is based on the analysis of the binary opposition «village – city», where the city appears as a hostile, «alien» world, while the village is sacralised as a lost paradise and an ethical landmark. The synonymic series of concepts forming the image of the motherland is analysed in detail: "grove" (an acoustic marker of childhood memory), "steppe" (a boundary space of rupture with home), and "field" (a source of vital force and hope). Particular attention is paid to the phenomenon of landscape anthropomorphisation, where natural objects (poplars, flax) are endowed with human emotions, substituting the family for the lyrical hero. It has been shown that the author's value centre lies in the Polissia landscape (the "gloomy aesthetics" of swamps), which he consciously places above the exotic landscapes of the Caucasus or Tibet. It is concluded that the appeal to origins is not merely nostalgia, but a mechanism for preserving the moral integrity of the personality under conditions of totalitarian pressure.