Scientific and literary cognition of the world in Vladimir Soloukhin's prose

Vladimir Soloukhin has a unique stylistic method: when writing about nature, the author popularizes various scientific theories using scientific vocabulary in his creative literary works. The interpretation of the natural world images depicted in Soloukhin’s works leads to the conclusion that the text contains the author’s controversy with the absolute scientific understanding of the world, which is manifested, on the one hand, in the process of the word determinologization, in which the usual linguistic connections are broken, and on the other - in the ironic coloring of contexts. Along with the word determinologization, in Soloukhin’s prose we find the collision of two types of narration - scientific and artistic - which occurs with the simultaneous contextual use of functional synonyms, giving rise to the expression of verbal microimages. One of the central images revealing the author’s aesthetic views on nature is the image of a tree. The article presents the analysis of the functioning of the lexeme “tree” in Soloukhin’s books The Third Hunt and Grass, and reveals the characteristics that form the artistic meaning of the word in the author’s individual system. The nominative use of the word “tree” reveals its artistic specificity in textual connotations: a ‘mysterious, mysteriously beautiful’ object of nature, which reveals the central idea of Soloukhin’s works - a miracle as the amazing beauty of living plants.