Figures based on contrast in Tsvetaeva's prose

The contradictions of the world, dialectics of our life get in Marina Tsvetaeva's poetic creativity designation through stylistic figures based on contrast. Contrasting attitudes of lexical units identified in the poetry by Tsvetaeva, received adequate coverage in linguistic literature, but her prose was not investigated in this aspect. Our research is based on multifarious and multi-genre prose, which includes autobiographical stories, literary-critical essays, diaries and notebooks. Modern linguistics has no common point of view on the nature, terminological designation and classification of contrastive stylistic figures. In this article the author presents five stylistic figures, which are based on antonymy in Marina Tsvetaeva's prose: oxymoron, antithesis, aloiza, mukabala and akroteza. The author makes an attempt to describe the basic stylistic figures based on contrast - the antithesis and oxymoron. The number of the works which are devoted to study of antonyms has grown up over the last years, but this in this research the subject area is regarded in a different way. In this article we follow the broad understanding of the antonym, recognizing the presence of contextual (occasional, authorial) antonymy and antonymy between parts of speech. Special attention is paid to the study of language (usual) and contextual (occasional) antonyms. The author determined the most popular deployed types of the antithesis and its complicated types in the form of aloiza and mukabala. Deep analysis of antonyms in Marina Tsvetaeva's prose allowed to allocate the akroteza as a stylistic figure close to the antithesis. This study confirms the opinion of the researchers O. G. Revzina, L. V. Zubova, M. V. Lyapon about the fact that Tsvetaeva used not only semantic, but also grammatical and stylistic language resources to express contrast, which is the dominant feature of Marina Tsvetaeva's idiostyle.