ИМЕННАЯ ДРАМАТУРГИЯ ОПЕРЫ САН БО "БАБОЧКА"
Name Opera of San Bo "Butterfly"

Summary/Abstract: Purpose of Article. The purpose of the article is to find out the role of onyms and appellātīvuses in the music drama of the transformations of San Bo "Butterfly". Methodology. The methodology is based on the method of the ononomathological analysis of music, developed by O. G. Roschenko. Scientific Novelty. The scientific novelty of the research is to trace nature of the name-creative processes in the formation of the music and poetic conception of San Bo’s opera "Butterfly". The charac-ter’s names are divided into two groups: own names (onyms) and general (sacral appellātīvuses). The free announcement of the own name is a proof of readiness to victim. The absence of the own name is determined by the deconstruction of the inside world. The author had found out the name inthonems Lyan Jenbo and Cu Intei. The name of the hero is got as a result of the process of the transformation appellātīvuses to onyms. It allows to compare it with classic Chinese poems, signed by Poet-Seeker. At the beginning of the hero’s monologue, her names united the unity of her name-function and own name: "Butterfly-Daughter, Intei Ya". Conclusions. In the opera San Bo, the law of the name-creative process acted in the artist compositions: names are analogies of the structure of the personality, re-production of the myth logics. It consists of abroad, closed plots, which cooperate with each others and stimulate the development of the Chinese Music Drama of Transformation. The processes of the logics show the common features of the name-creation in Chinese and European operas, which proves the strong links between Western and Eastern civilisations.

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