The article states that the base of the non-referent (non-address-communicational) lyrics are parts of stylistic and surrealism. Such poetry is built on principle “text like text”, the artistic world looses its referency completely and is transformed into a sign. The function of such poetry is non-referential (arbitrary). The most common for such lyrics is stimulation and continuousness of the expression plan (not the contests) that commonly is done on the phonic and graphic levels. The main semiotic classificators here are arbitrary convention and symbol sign. They are non-address and non- communicational. If index has illocutive power, then a symbol sign has a power of categorical imperative.
The system of non-referential lyrics in its own way is a spere of experimants. One of them, or maybe the most principal, which made “the exploitation” of the subconsciousness possible, and often gave metaphysical results, was so called automatic writing (ecriture automatique). The main point of it was to write having maximum freedom from the control of the mind, moving in the stream of free associations, and not returning to the written text; in any case nothing should be corrected (creative work of Zinoviy Berezhan). Second is orientation on dreams. Formal distinctive mark of “hooked” to the artistic world neurospace is the image of a dreamer – the one who watches a nightdream and tells about its cotntents (it can be either a narrator, as in the majority of the poems by Boychuk, or an animal, plant or an insect as in the works of Andrievska). The image has two functions: 1. to receive and transmit the contents of a dream spiritually; 2. to associate the contents of seen in a dream with the feelings, or in the other words transform it into the concrete feeling images.
Semantic variety of expressionalism against impressionalism (the antipode of which it became) has also the character of conversion, and concerning existentionalism -– inversion.
The differences between the styles of non-referential lyrics we can imagine in the shape of inversion. Stylizations also pretend to autonomy. Their structure e.g., in the poem by Olexa Stephanovich “From the chronic”, is defined by not immanently “imagined” in the “reality” norms but by convention -– as if a transition from outside, in advance, only to stress the function of a speaker. In the works of Yuriy Lypa, especially in his stylization “About the seamster Kozhumiaka” the artistic shape net catches the breething of a “chronical”, inner and outer world of a character connecting it with his pseudoarchaic way of narration, the poet makes stylization not only of characters’ dialogues (“The Monk and the Death”), but also the language of a storyteller (“The Deivil”, “The demons and the catcher”), receiving in such a way harmony of languages – the vision of the world. The same was done by Euhen Malanuk in his poem “The rye in the field is spoiled by the hoofs”, in which he eliminated from the narrative language expressions, that went away from geographical-phyhological base of our 20-th century’s menthality.
The contstructivistic defence of the objectivity of moral standards and natural law that does not require the debate on moral realism