ONOMASTIC MYTH IN THE POETICS OF F. M. DOSTOEVSKY AND I. A. GONCHAROV

The article presents a new approach to the analysis of the specific features of the onomasiological vocabulary of F. M. Dostoevsky and I. A. Goncharov in the typological aspect. The object of the study includes the poetics of the onyms of the main characters in the novels "Crime and Punishment" and "The Idiot" by Dostoevsky and "Oblomov" and "The Precipice" by Goncharov. The research rests on the methodological principles of mythopoetic, structural-semantic, and systemic-comparative analysis of the text. The typological approach to the poetics of the name in these works of the writers is determined by the specificity of their mythopoetic and philosophical thinking. At the heart of the artistic ontology and historiosophy, recreated in the novels, there lies the solar-chthonic opposition Chaos - Cosmos and its invariant manifestations in the figurative-semantic paradigms of the works: Split / Precipice / Break - Harmony / Integrity / Unity / Equilibrium. The literary onomastic practice of the writers within the framework of this paradigm also acquires a mythologized character. The anthroponyms of Rodion Raskolnikov and Lev Myshkin in the novels by Dostoevsky do not only reflect their personal ambivalence, but are the embodiment of the contradictions of their contemporary historical era, where harmony and chaos exist in an unstable balance. A similar dialectic is found in the onomasiological vocabulary of Goncharov. The figurative and semantic ambivalence of the onyms of Ilya Ilyich Oblomov and Boris Raysky actualizes semantic oppositions, typologically parallel to Dostoevsky's onomamythology. "Precipices" and "breaks" in the consciousness and destinies of the characters are metaphorical expressions of the crises of society and the related distortions of the cosmourgical processes of creation - destruction - restoration of harmony. Thus, onomasiology, historiosophy and sacred-mythological ontology exist in the novels by Dostoevsky and Goncharov in the relations of dialogical mutual projections, revealing the typological kinship of the spiritualexistential and moral-philosophical ideals of the writers.