Проаналізовано поезію одного з найбільш яскравих та цікавих етапів творчості найвідомішої української поетеси рубежу ХІХ-ХХ ст. - Лесі Українки - поезію кримського періоду. Лірику поетеси розглянуто з нових позицій прочитання поетичного й художнього тексту. Головна увага приділена поняттям "хронотоп", "топос" як основним категоріям кристалізації образного світу літературного твору. Розкрито просторові панорами, здійсненоінтерпретацію антитетичних та еквівалентних топосів, наявних у художніх картинах, вестетично-філософських пошуках вказаного періоду творчості поетеси.
The article is dedicated to the prominent Ukrainian poetess of the XIX-XX time fence - Lesya Ukrainka, namely to the most interesting and fascinating period of her oeuvre - the Crimean. The poetess"s lyric poetry is analyzed from the position of a new poetic text reading. The main attention is paid to the terms "chronotopos", "topos" as the main categories of imaginative world crystallization, to the revelation of the spatial panorama, the interpretation of the antithetic and equivalent toposes, which are used in the poetess"s lyric poetry of that period. In the poetic and artistic plan of the lyrical cycle, the topos of those southern cities where Lesya Ukrainka visited during he&r first trip to the Crimea are reproduced. Three of the twelve poems of the cycle are dedicated to the city of Bakhchisarai. The lyrical "I" in Lesya Ukrainka"s poems is usually associated with a topos, mostly urban, unfolds locally - here and now. T&he lyrical heroine of the analyzed cycle of poems thinks of herself only as a city dweller. She is intelligent, educated, spiritually rich, refined, of course, duplicates the figure of the writer. Basically, the space in Lesya Ukrainka"s poetic works& is built on a realistic principle. Sometimes the writer refuses the characteristic of realism descriptiveness. Then the symbolic arrangement of space is very rich and varied. In ideological and aesthetic, culturological and intellectual terms, the a&rtistic model of the world proposed by the poetess is not limited, although geographically determined by the local definition of the thematic framework of the lyrical cycle.
