In the thesis the versification features of the Ukrainian poetry of the 1990s – 2010s are studied. The actual scientific status of the poetry is highlighted, and the main scientific research on the research of modern poetry is reviewed. It is concluded that Ukrainian poetry is well assimilated by the experience of foreign researchers, however there are gaps. It is noted that scientists are not paying enough attention to the issues of metrics, rhythmic system, strophics and phonics. The importance of poetic analysis for understanding the modern poetry development principles is emphasized. Various principles of poetry systematics are considered. It is noted that modern Ukrainian poetry is classified according to different semantic and structural principles: genre (genre-strophic), theme or style.
On the own survey material on more than three dozen modern young poets, debuted in the literature of the last decade, there was an attempt to explore the relationship between content and form in modern Ukrainian poetry. It is noted that for modern young poets, poetry is primarily a means of self-knowledge and world-consciousness, a dialogue with the world. It is important that there is an understanding of poetry as high art.
On the material of the creative works written by modern Ukrainian poets, who made their debut during this period, a wide metric-statistical analysis has been conducted, including 2103 works by the authors of the 1990s (Viacheslav Angolenko, Ivan Andrusiak, Iurii Bedryk, Olha Bashkyrova, Serhii Zhadan, Iuri Izdryk, Olesya Kovalchuk, Oles Korzh, Oleh Korotash, Ihor Kulakov, Roman Kukharuk, Vasyl Makhno, Rostyslav Melnykiv, Iurii Noha, Serhii Pantiuk, Svitlana Povaliaeva, Stepan Protsiuk, Ivaf Ratsibukh, Maxym Rozumny, Anna Sereda, Roman Skyba, Irina Tsilyk) and 2000s–2010s (Artem Antoniuk, Kateryna Babkina, Ania Bagriana, Svitlana Bohdan, Tetiana Vynnyk, Iaroslav Gadzinskii, Bohdan-Oleh Gorobchuk, Liudmyla Diadchenko, Gritsia Erde, Artem Zakharchenko, Kateryna Kalytko, Oles Korzh, Pavel Korobchuk, Oleh Kozarev, Dmytro Lazutkin, Myroslava Laiuk , Mykola Leonovych, Maxym Lyzhov, Liliia Lysenko, Olga Liasniuk, Anna Malihon, Olesia Mamchych, Bohdan Matiiash, Ivan Nepokora, Serhii Osoka, Zaza Pauliashvili, Olena Pashuk, Oleh Romanenko, Tetiana Savchenko, Sofia Sitalo, Maxym Solodovnyk, Iuliia Stakhivska, Olena Stepanenko, Stronhovskyi, Halyna Tkachuk, Sashko Ushkalov, Katrina Haddad, Viktoriia Cherniakhivska). Thus, the poetry analysis included the work of more than sixty contemporary authors, which allows us to speak about the results objectivity.
Statistically obtained results allowed analyzing the significant changes that have occurred in the Ukrainian versification of the period under study. It was noted that in the 1990s, for the first time, other metric forms began to dominate the free-play versatile version. It was in the 90s that the toning processes of the Ukrainian poem received rapid signs that are still ongoing.
The stropics and phonics of Ukrainian poetry of late 1990s–2010s are also studied.
On the basis of the works of national and foreign scholars, as well as observations of modern poetry, our research has developed its own classification of strophic forms. Based on this classification, it was concluded that the overwhelming majority of the poetic works of modern poetry are written on the basis of a combination of simple strophic forms or their strophoid variants. A significant part of vers libre works is also a motivated composition, what means general astrophicity, they also manage to isolate separate non-random strophoid fragments.
It is affirmed that since the 80s rhyme in Ukrainian literature a range of transformations has been undergoing. New postmodern trends in literature in the 1980s – 1990s encouraged a drastic expansion of the traditional rhyming vocabulary.
On Ihor Astapenko's works the functions of various phonetic techniques in modern poetry are explored. So, the most common nowadays sound recording techniques in lyrics are assonance and alliteration. It is noticed that in poetry, tone-painting serves to enhance the effects of the corresponding images created by the author, to heighten the attention of the reader or listener, to awaken his feelings and emotions. In the works of Ihor Astapenko, tone-painting examples were noted in the vers libre, which is generally not typical of modern poetry. Particular attention is paid to the study on the semantic function of tone-painting.
