Розглянуто різні типи ономастичного словотворення у драматургії Марка Кропивницького: онімізацію, трансонімізацію й онімотрансонімізацію. Усі виявлені оніми означено терміном “літературна ономастика” або “поетоніми”. У контексті досліджуваних словотвірних процесів визначено такий поділ поетонімів: вітопоетоніми – назви об’єктів живої природи в художніх контекстах, зокрема найменування людей; топопоетоніми – назви географічних об’єктів у художніх контекстах; ідеопоетоніми – ідеоніми в художній літературі. Окрім зазначених словотвірних актів, наявний також суфіксальний спосіб творення імен та прізвищ і виявлено фонетичні зміни у коренях слів. Хоча ономастика творчості драматурга не є частотною і значною за кількістю, однак уповні репрезентує не тільки відомий ономастичний матеріал, а й суто авторське іменотворення.
The article considers onomastic word-for ming acts in Marko Kropyvnytsky"s drama – onimization, transonymization and onymotransonimization. Onomastic word formation is a specific branch of li nguistic cognition, which is still under scientific discussions. The stat e of study of this question is sharply dissonant with the available and obvious facts of existenc e of similar word-forming proc&esses, especially in drama. All onyms found in Marko Kropyvnytsky"s works are defined by the term literary onomastic or poetonims. It is necessary to distinguish between poetonims, created by the author himself, and that which is tak&en to the work of art in, so to speak, the finished form, that is, existed before, but moved to another onomastic class – poetonims. In the second case we are dealing with the phenomena of onimization, transonymization and ony&motr ansonimization. The title name of the luminary of the Ukrainian theater is specific, because the researched propriatives are based not only on individual words and combinations of tokens, but on whole paremic & expressions that are onimi zed by a ready-made phrase set. Transonymization in the work of Marko Krop yvnytsky is presented more often. This process was revealed, first of all, during the transition of anthroponims to t&he class of poetoanthroponims. Usually the author uses the accepted names, patronims, and comes up with his own surnames, although it is no exception that some surnames also already existed. Therefore, in su ch cases, transon&ymization is more about names and patronims. In the context of the studied word-forming processes, the following division of poetonims in M. Kropyvnytsky"s drama is defined: vitopoetonims are the& names of living nat ure objects in artistic contexts, in particular the names of people; topopoetoni ms – names of geographical objects in artistic contexts; ideopoetonims – ideonims in fiction. In addition& to these word- forming acts, there is also a suffixal way of creating names and surnames and phonetic changes in the roots of words ar e revealed. Although the onomastics of the playwright"s work is not fr equent and signif&icant in numbe r, it fully represents not only the known onomastic material, bu t also purely authorial nomenclature.
