Abstract: The subject of this article is the semiotics of a painting as a work of art. The object of the study is the functioning of the title of a painting as a sign constituting its semiotic space. At the same time, the picture itself is considered as a complex sign that carries out a special kind of communication between the sender and the recipient. The main conclusions of the study are the thesis that semiosis occurring in the process of interaction between the viewer and a work of art is largely based on the artionymic text, as well as the conclusion that follows from it that, despite the generally accepted characteristic of modern culture as a visual culture, the text continues to play an important civilisational role as a conductor and keeper of various kinds of information. When decoding a message conveyed by the complex sign “painting”, under the conditions of limited perception time, the recipient tends to extract information and interpret it through a textual channel (i.e. through an artionym). The novelty of the study lies in considering the artionym not only as a small-format text, but also as a sign involved in the transmission of information in the situation of perceiving a painting by the recipient.

Abstract: The object of this research is the references to the German composer of the XVIII century – Johann Sebastian Bach in poetry of the classic of modern American literature Charles Bukowski. Special attention is given to the poetic-semiotic and ontological aspects of Bach’s motif in the poetic works of C. Bukowski. The author meticulously examines the nature of mentioned references, categorizing them as the three narrative-ontological types or hypostases, in which the German composer appears in the poetry of C. Bukowski, namely: Bach-ideal, Bach-background, and Bach-father figure. The article employs the method of continuous sampling, interpretation and semantic analysis, motivic analysis, as well as biographical and psychological approaches. The author's special contribution into the research of this topic lies in the conclusion on the Bach’s motif in the poetry of C. Bukowski as a variety of ekphrasis, which suggests a verbal representation not of a single artwork, but of the demiurge (in this case it is Bach) as the creator of entirety of his brilliant compositions.

Abstract: The subject of the research is the English borrowings in a Cyrillic text. The object of the research is the Latin alphabet borrowings in V. Pelevin's novel iPHUCK10. Describing the matter under research, the author underlines that there are certain cultural, political, economical and civilizational procsses behind borrowing as a language process. The importance of the research object (i.e. exclusion of Latin borrowings in a Cyrillic text from the scope of analysis) is caused by a great number of Latin borrowings in a Cyrillic text of a novel which makes the latter to be a matter of particular research. The authors of the article analyze Latin borrowings in the novel from the point of view of their structural and distributive features. This implies the use of such methods of linguistic analysis as structural, quantitative, distributive and content analysis. The novelty of the research is caused by the integral analysis of functional of Latin borrowings in a Cyrillic text. The main conclusions of the research is the provisions about structural, distributive and meta-communicative peculiarities of aforesaid units. The authors' special contribution to the topic is the description of basic metafunctions (descriptive and coding) performed by Latin borrowings in the novel.