The article examines the peculiarities of the use of stylistic devices in the novel “Where the Crawdads Sing” by the American writer Delia Owens and their reproduction in the Ukrainian translation. Stylistic means are an integral part of fiction and they possess metaphoric meaning, emotional features that help convey the author’s idea. The functioning and emotional aspect of metaphor and simile in the novel were clarified. It was also found that the peculiarity of the novel is the presence of a natural element in the stylistic devices. The multifaceted description of the environment, desolate marshlands with their animals and plants helps the author reproduce the atmosphere in which the main character lived and the readers immerses the reader in her natural world. It was determined that such methods as calque (loan translation), adding, omitting, replacing an image, replacing one construction with another, reducing an idiomatic comparison to its meaning, preserving the same construction with further explanation of similar features were used to translate metaphors and similes. The highest percentage of using the calque method indicates that the images of the original novel are completely understandable for the readers of the translated work and any changes are not necessary. The authors analysed the situations in which minor changes or addition of information were needed for a better understanding of metaphors and simile and situations in which these stylistic devices were omitted due to the impossibility of selecting a suitable equivalent. The authors came to the conclusion that a number of methods of reproducing one or another stylistic device were used in the translation of the novel, with the help of which the translator managed to preserve the emotional load of the metaphor and simile, the natural element of these devices and convey the author’s intention in order to enable the readers of the translated work to get the same impressions as the readers of the original work.

The current article deals with English diminutives from the perspective of Speech Act Theory formulated by J. Searle and supplemented by other scholars (e.g. D. Wunderlich). In the focus of the research are the diminutive-related vocative speech acts which are used in addressing the participants of speech situations and contribute to establishing the addressee. In the arrangement of relations and interactions between participants of communication, there have been found only two components: the addresser and the addressee. The empirical material for the study is based on popular works by modern writers of English prose literature for children such as A. Ahlberg, R. Dahl, E. Nesbit, J. Wilson. The choice of the target texts results from their antropocentricity and childcenteredness. Vocative speech acts perform two communicative functions: a) calls are aimed at catching the addressee’s attention; b) addresses are aimed at maintaining or emphasizing the contact between speaker and addressee. Among the diminutives used in vocative functions there have been found first names, family names, terms of kinship and descriptors. First-names diminutive forms are most recurrent in the vocative speech acts. It results from the fact that the addressee in juvenile prose literature is a child. Most of the first names in the diminutive form are used to express a positive attitude to the addressee. There has been found only one example of a family-name diminutive in the vocative function, whose purpose is to express a negative attitude to the addressee. Besides, diminutives in the vocative function complement other speech acts such as directives, commissives and representatives. Diminutive vocatives either intensify or weaken the illocution of the speech act they complement, and express positive or negative attitude to the addressee.

The article clarifies the peculiarities of the gender representation of the material world as an artistic detail of the text. The research uses a gender-oriented approach to the representation of cultural constructs, embodied in the picture of the world, the point of view of the author and the hero, the system of characters, the nature of the author’s consciousness, the object-subject system. The gender approach to the study of literature today is a form of in-depth reading and is a higher, more measured tool, in such a way that it corrects the traditional view of beautiful writing and articulates the problem of female authorship and provokes “re-reading” of classical texts. The article examines the early work of Françoise Sagan in the context of postmodern interpretations of the stylistic manner of women’s writing, artistic thinking, women’s perspective on life, women’s experience through the representation of micro-images of the material world. The material of the study is the novel “Bonjour tristesse” by Françoise Sagan. The peculiarity of Sagan’s female writing is determined by the conscious female authorship, the presentation of the image of a woman as a protagonist, and the gendermarked specificity of the narrative. The analysis of the originality of women’s creativity is carried out taking into account the positions of existentialism, theoretical concepts of feminist criticism. The work uses the main methodological provisions of structural semiotics, the concept of text, cultural dialogism, literary studies of things in texts. As a result of the research, it was found that the artistic detail, due to its special content, symbolics, compositional and characterological function, becomes an important component of the poetic organization of the text. Through the detail, the way of the artist’s artistic thinking is revealed to a large extent, his ability to express the author’s idea of the work through the objects of the material world. The gender representation of an artistic detail emphasizes the individuality of the author’s style of Françoise Sagan, the gender-psychological marking of elements of poetics, which model in the space of the artistic narrative a specifically female relationship to reality, which ensures the reading of the work as a female text.

The analysis of two nursery rhyme poems from the perspective of Text World Theory shows the complexity of discourse structure of the genre that is popularly believed to be young children-oriented. According to P. Werth, J. Gavins, P. Stockwell, text worlds (alternative spelling: text-worlds) are mental constructs/representations that enable the author to create a particular text and readers/listeners, to understand and interpret it. Such worlds greatly depend on the linguistic cues and the context of the text, as well as on one’s general knowledge of the real world and his/her literary experience. In the current study, the discourse of the nursery rhymes Humpty Dumpty Sat on a Wall and Hush Little Baby, Don’t Say a Word is viewed in three aspects: (a) world-building elements that set temporal and spatial parameters, specify enactors and objects that are present in the text-world; function-advancing propositions; relational processes; (b) sub-worlds, or world-switches; (c) modalworlds. In Humpty Dumpty Sat on a Wall, the switch of deictic text-worlds is triggered by the implied change of local parameters and the introduction of new enactors. On the other hand, Hush Little Baby, Don’t Say a Word has a complex structure of consequently interrelated text-worlds. Its initial textworld, unlike that of the first poem, is of the deontic modal type. All the other worlds (except for the last one) are either epistemic or boulomaic modalworlds, both types being realized in the same complex sentences that describe various hypothetical situations in the future and the enactor’s further actions. Each new world consequently evolves from the previous one. This process is ensured by consequent repetition of nouns that denote enactors and/or objects and by parallel constructions that present hypothetical situations and describe the enactor’s possible actions. Thus, the analysis of the two nursery rhyme poems from a Text World Theory perspective has made it possible to establish complex intratextual relations in their discourse; besides, it has shown that the poems are designed so as to facilitate the development of young recipients’ cognitive skills.

The article examines the texts of dramas of British playwrights of the 20th century through the prism of the methodology of conversational analysis (CA). CA is a relatively new branch of Pragmatics and Sociolinguistics that investigates the features of speech interaction: the structure and formal properties of speech, which help interlocutors to interpret each other’s behaviour, language means at the empiric level, which put in order and control the sequence of expressions of interlocutors. CA developed from the theories of social organization of ethnomethodology by Harold Garfinkel. Sociologists and linguists Harvey Sacks, Emanuel A. Schegloff, and Gail Jefferson became the founders of the new research method of a dialogue (polilogue). Basic methodical principle of CA is collecting and fixing of the material in the situations of a real communication in everyday life. As a result of empiric data processing the categories of CA were developed: turn-taking, reparations, overlaps, sequences, adjacent pairs, and preferences. Turn takings are the base element of conversation organization. They are wellorganized utterances. A change of interlocuters is obligatory for turn-taking. They are also characterized by the presence of structural and allocational components. The first determines the volume and form of an utterance, the second is responsible for a choice of the next speaker. The sequence of utterances in a conversation is set on rules according to which a current interlocuter elects the following one. This is marked in a relevant transit point by means of one or a number of linguistic, paralinguistic or nonverbal facilities. It is also possible that another participant of a conversation starts talking on their own. If no one is willing to talk, a current interlocutor may continue talking. Nowadays conversationalists study not only real-life (domestic or institutional) but also written texts, that may be a representation of real-life talks (those which contain a direct address to the interlocutor or audience, have the system of turn-taking including more than one interlocutor). Such method of research can be applied to the analysis of drama discourse organization. The text of a drama is built, mainly, on the principle of exchange remarks between characters, and it is the interaction that is a global means of characters description, and action development, and also a means of the main idea expression. All the above mentioned makes it possible to apply CA to drama discourse research.

The article is an attempt to prove dependence in the location of information perspective peaks in polypredicative complex sentences in English-language prose on the peculiarities of their formal and grammatical structuring. The author proves that the number of such peaks is directly related to the syntactic structure of the polypredicative hypotactic construction. One peak of information perspective is common for polypredicative complex sentences with heterogeneous co-subordination of dependent clauses, consecutive subordination and heterogeneous co-subordination, as well as heterogeneous co-subordination and consecutive subordination. A few peaks of information perspective may be found in constructions with homogeneous co-subordination and also in structures where homogeneous syntactic connection precedes heterogeneous or consecutive one. The communicative approach to studying complex syntactic constructions creates additional possibilities for interpreting their heterogeneous communicative structure. The actual division theory is used as a methodology for identifying the most communicatively important elements of the hypotactic construction. The main aim of the article – setting up regularities between the information perspective peak(s) and the structural peculiarities of the constructions under study – is realized via the analysis of English fiction texts.

The article provides a comparative study of Kazuo Ishiguro’s novel “Never Let Me Go” and its film adaptation directed by Mark Romanek. The analysis is made in the context of the theory of intermediality, which involves the interpenetration of various forms of information transmission. According to modern views on intermediality (I. Rajevsky, L. Elleström) it has been established that screen adaptation belongs to “medial transposition” which are understood as the transformation of one media into another by re-coding. The objective of the article is to study the problem of re-coding of literary works by means of cinematography, since it is the transfer of original author’s plots to the screen that creates a wide interpretive field for intermediality research. Literature and cinematography both benefit from their interaction. For cinema, these are engaging plots and challenges in reproducing the original literary style and genre, while for literature; it is an increase of readers and bigger attention to the literary work. The indisputable advantage of cinematography is visual and audio elements that can create a brighter picture of the changed emotional state of the characters, and therefore the film is able to involve the viewer into the events depicted on the screen. The article examines the issue of film language, which is understood as a means of expressing artistic reality in cinema using a set of technical and metaphysical methods for creating reality. Thanks to editing, the director managed to recreate the time-space structure of the novel, which combined three different time life periods of the characters. Important compositional elements were preserved; in particular, considerable attention was paid to the visual interpretation of the basic symbols of the novel.

The article deals with the German creolized memes of recent years, dedicated to prominent political figures and events, selected by continuous sampling on various Internet platforms and social networks (Twitter, Instagram, Facebook). Modern linguistics focuses on the study of language as a communication tool and the study of verbal structures in accordance with the conditions in which they function. Language means are considered in their purpose to solve specific pragmatic tasks and achieve specific communicative goals, which predetermines the study of not only the structure of language units but also their participation in real communication. The media environment as a complex and multifaceted phenomenon is now not just an area for the creation and consumption of an information product, but also a space, where the information needs of a modern linguistic personality are met, certain life guidelines and values are created. In the digital plane of the media sphere guidelines, trends, and methods of genre organization are formed during the textual transmission of information in a virtual coordinate system, where the new means of transmitting ideas about reality, norms, and problems are approved. The relevance of the article is due to the need to study the linguistic picture of the world of a modern German person and the present German authorities, captured in the digital plane in the format of a meme – a standardized and integral unit of Internet communication in the German-speaking infosphere. The purpose of the study is to highlight the structural features and stylistically pragmatic potential of Internet memes through the prism of their contextual transformation and conversion into elements of ideological influence in modern German-language media discourse. The use of Internet memes in the political sphere stimulates citizens to be more active and interested in various political events, suggests the support of certain political forces. Purposeful creation of such memes is characterized by a clearly expressed ideological goal: influence on the consciousness of members of society and their involvement in a communicative discussion in the vast virtual information space.

Psychological portrait is considered to be the most complicated kind of portrait creating. Irwin Shaw’s novels are popular, to a great extent, due to his ability of creating plausible psychological portraits, that’s why Irwin Shaw’s works offer good material for analysing means of creating psychological portraits in modern literature. The reason for writing a letter is often a person’s desire to express his or her own individuality, that’s why letters are often seen as a source of information about a person’s inner world. All main characters of the investigated novel write letters, showing the feelings and features which they are not inclined to demonstrate in face-to-face communication. Unexpected sincerity can be observed in Rudolph’s letters to his teacher of French whom he fell in love with. He writes love letters to her but doesn’t dare to send them. It proves that Rudolph is not the one to be swayed by sentiment. He chooses good judgment. But the fact that he destroys his letters and writes them again and again testifies to the fact that he feels lonely and has nobody to share experiences with. Mary Jordache’s letter addressed to her daughter Gretchen sounds especially honest and dramatic as she writes it as a suicide note though she does not commit suicide then. This destroyed letter reveals Mary’s psychological complexes and her real attitude to all the members of her family – her repulsion of her husband, her estrangement from Gretchen and her disdain for her, her contempt for Tom and anxiety for his fate, her faith in Rudolph and her adoration of him. Thomas and Rudolph’s characters are reflected in their letters to their sister. Gretchen’s feelings and state of mind in the period of her living in Los Angeles are clear from her letter to Colin. All these letters give information about the characters’ feelings, desires, state of mind, psychological complexes, self-esteem directly or indirectly, making great contribution to creating plausible psychological portraits. The character’s personality is revealed in them not only due to frank acknowledgements, which these letters are abundant with, but also due to the feelings hid in the subtext. The fact of sending or destroying the letter is also greatly important for discovering the characters’ traits and psychological states. The addressee’s reaction to this or that letter adds much to understanding the characters’ relationships. Thus, inputting epistolary elements into the text of the novel provides combining two forms of psychologism (direct and indirect), uniting a kind of confession and implication. The investigation is made with the help of descriptive method and analytical and interpretative method.