SOCIOLINGUISTIC PROJECTIONS OF A DOCUMENTARY CINEMATIC PORTRAIT OF A WRITER (BASED ON THE MATERIAL OF THE MINI-SERIES “OLHA KOBYLIANSKA. VALSE BRILLANTE”)

Anhelina GANZHA,
PhD in Philology, Senior researcher of the Department of stylistics, language culture and sociolinguistics,
Institute of the Ukrainian Language of National Academy of Sciences of Ukraine;
4, Mykhaila Hrushevskoho St., Kyiv 01001, Ukraine;
e-mail: ganzhalina@ukr.net
ORCID: https://orcid.org/0000-0003-2938-5306

Heading: LANGUAGE WORLD OF OLHA KOBYLIANSKA: MODERN RECEPTION
Language: Ukrainian

Abstract
Integrative linguistic stylistics provides reliable tools for the study of film text.
The term linguistic portrait already has its own tradition of multidimensional interpretation in linguistics: from a scientific metaphor to specific definitions with a hierarchy of characteristic features. The features of a linguistic portrait of a personality are fully projected onto the phenomenon of a film portrait of a personality, which is the focus of the creative potential of a filmmaker who is the author of a biographical documentary media product. We propose to understand a film portrait as a genre of documentary film that involves the depiction of a real person in his or her natural environment by means of documentary cinema.
The peculiarity of biographical documentaries about writers is that they focus on the representation of the figures of direct participants in the linguistic and literary process of all periods. Thus, the complementary characteristics of a film portrait can be the works of the artist quoted in the audio or visual sequences, as well as the artistic and stylistic features of these texts, which the filmmaker uses as interpretive material to expand the characteristics of the film portrait.
The film portrait of Olha Kobylianska in the miniseries “Olha Kobylianska. Valse Brillante”, distinct sociolinguistic projections are revealed. First of all, the formation of the writerʼs national and linguistic worldview was influenced by her origin and family upbringing, which is revealed in the film text through the presenterʼs story about the writerʼs parents, her childhood, and audio and video illustrations of the “context of the era”. The dominant personal dimension in the film is inextricably linked to the reflection of the search for creative identity, especially through the linguistic dimension. In her autobiographies, Kobylianska emphasized that “Ukrainian was the language of choice at home”, but in her youth, German was the language of intellectual pursuits and socializing. That is why, naturally, it became the first language of creativity for the writer, but it was only an episode in her artistic biography.
Key words: integrative linguistics, documentary film portrait, linguistic and national outlook, sociolinguistic context, Olha Kobylianska.

REFERENCES
Blokhyn, D. (2019). Vplyv nimetskoi kultury na tvorchist Olhy Kobylianskoi. Volyn filolohichna: tekst i kontekst, 26, 5–25 (in Ukr.).
Farion, I. (2021). Sotsialnyi kontekst zhyttietvorchosty Lesi Ukrainky. Linhvistychni studii, 41, 310–319 (in Ukr.).
Kobylianska, O. (1982) Slova zvorushenoho sertsia: Shchodennyky; Avtobiohrafii; Lysty; Statti ta spohady. Kyiv: Dnipro (in Ukr.).
Pysarenko, K.V. (2015). Typolohiia movnykh portretiv personazhiv u khudozhnikh tekstakh tryptykhu «Khresna proshcha» R. Ivanychuka: zmistovyi aspekt. Linhvistychni doslidzhennia, 42, 152 (in Ukr.).
Shevchuk, Z.S. (2014). Poniatiino-terminolohichne pole doslidzhennia iierarkhii «movna osobystist – movnyi portret». Odeskyi linhvistychnyi visnyk, 4, 307 (in Ukr.).
Siuta, H. (2015). Movni portrety politykiv i zhurnalistiv. Culture of the Word, 82, 139 (in Ukr.).
Yermolenko, S. (Ed.) (2001). Ukrainska mova: Korotkyi tlumachnyi slovnyk linhvistychnykh terminiv. Kyiv (in Ukr.).