Abstract: The subject of research in this article is emotional and evaluative communicemas in two works of modern literature: M. L. Stepnova’s «The Garden» and E. S. Chizhova’s «The Time of Women». The object of the study is communicemas – communicative, non-predicative units of syntax related to the level of syntactic expressiveness. Author pays special attention to the structural composition and semantic functional characteristics of the communicemas in a literary text-dialogue in order to display the psychological emotions, states and relationships of the characters, thereby increasing the tension and reality of the situation. The purpose of the work is to identify the connection between communicemas as a means of expressing emotional assessment and social and speech characteristics of characters in texts of modern literature. The article identifies the main types of communicemas used by the heroes of the works «The Garden» and «The Time of Women», proposes their classification depending on the functional role in the character’s speech and in the dialogue. The methodological basis of the study consists of structural-semantic, descriptive, comparative and classification methods. The theoretical basis of the study is work in the field of linguistic description of means of expressing emotional assessment, in particular, communicemas as ways of transmitting an emotional reaction through speech. The scientific novelty of the study lies in the comprehensive analysis of the semantic structure and pragmatics of emotional-evaluative communicemas within the framework of modern prose dialogic contexts. As a result of the study, it was revealed that communicemas as a phenomenon of living speech are one of the forms of conversational and dialogical speech and are indispensable as a means of effective expressiveness of the author in literary works. The results of the study can be used to provide information to students during classroom teaching, as well as for scientific research. By analyzing dialogue situations in literary works, one can better understand the author's intentions and the emotional characteristics of the characters. At the same time, it helps students improve their literary reading abilities and better understand the subtext of literary works and the cultural and historical background behind them.

Keywords: admiration, indignation, surprise, interjection, particle, literary text, expressiveness, live speech, communicema, doubt

Abstract: Traditionally, the compression of language is considered as a result of the linguistic economy law and attracts more and more attention of linguists as the opposite of the expansion of language phenomenon. The article provides an overview of the syntactic compression in Singlish SMS. SMS of 2004 and 2012 from the National University of Singapore corpus NUS SMS were taken as the basic material for the analysis. English plays a key role in Singapore, and therefore possible changes at the syntactic language level become worthy of study due to the impact of the economy principle in conditions of a limited communication channel. The methods of corpus and statistical data analysis were used in the study. The novelty of this study lies in the fact that for the first time an attempt to analyze the methods of syntactic compression is made on the examples of Singapore English through the SMS communication. As a result, various types of syntactic compression were identified, typical for messages of 2004 (omission of superscript non-letter characters) and messages of 2012 (omission of a space), as well as compression inherent for SMS of both years from the corpus NUS SMS corpus (lack of punctuation). Such methods of syntactic compression allow the addressees to save time and electronic space in terms of technical character limitations without distorting the semantic meaning of sentences or the entire message.

Keywords: national identity, absence of elements, syntactic compression, language compression, language levels, spoken language, Singapore English, English language, corpus, SMS

Abstract: Examination the means of local coherence of the text, namely various auxiliary units, such as conjunctions and conjunctive means, particles, pronouns, hybrid units, etc., remains relevant in studying the text. Same means of textual coherence are classified by the linguists depending on the vector of research. The subject of this article is the discursive word ‘however’. Discursive words are an important part of text studying, and textual coherence in particular. The object of this article is the functionality of the word ‘however’ in the instance of ending narration, as well as the corresponding contextual modification “ending of description / discussion”. The contexts for linguistic analysis that largely contain the word ‘however’ were taken from the Russian National Corpus. Analysis is conducted on the contexts of fiction and popular science styles. The scientific novelty of research consists in examination of the peculiarities of using the word ‘however’ in combination with other words (enough, no more, never mind), as well as the specificity of formation of syntactic constructions with the word ‘however’. The conclusion is made the speaker can end narration, description, discussion due to unwillingness or inexpediency to continue the thought, or due to shifting  onto a new aspect of the given situation.

Keywords: text cohesiveness, discourse, however, syntactic constructions, text clip, context modifications, discursive word, text, modal words, vocabulary

Abstract: In this article the author analyzes the complicated form of simple verbal predicates in the plays of Alexander Ostrovsky on formal and substantial levels. The playwright actively uses the conjunctionless repetitions of lexically meaningful verbs, the combinations of verbs in the identical forms, one of them shows the purpose of action made by the subject, formations of adverbial type ending in -ом as means of complication of simple predicate. The numerous group was formed by simple verbal predicates complicated by different particles: так и, было, было вот, чуть было, чуть было не, чуть не, всё, вот всё, и, взял, взяли, возьму + да и + вот, себе, знай, словно, будто, как будто, точно, ровно, как бы, как бы не in the plays by Alexander Ostrovsky. We also refer idioms (transformed and not modified) with the syntactic indivisibility and indivisible meaning to the means complicating the structure of simple verbal predicate. The verbal idioms in the position of predicate helps the playwright to reveal the individuality of the characters, to express the author’s modality. We consider the verbal composites (such as заливается-плачет, нежит-томит) in combination with the particles (such as так, так и); the former isn’t named as complicating elements of simple verbal predicate in the linguistic literature, but always arouses interest of academics. Such complex words have common features with word, idiom and free word-combination. The complexity of the external and internal forms of the compositing formations allows us to consider them as complicated forms of simple verbal predicates. These means of complication introduce the additional shades of meaning into the simple verbal predicate. In the plays by Alexander Ostrovsky we have identified the following meanings: the meaning of the temporal extent of the action or state, the meaning of the incomplete realization of the action or state, the meaning of action that is close to realization but is not put into effect or characteristic close to the exposure, but is not revealed, the meaning of the composite action or state, the meaning of action that is revealed independently of unfavourable conditions or in spite of something, the meaning of action that the subject realize in his own interests for the sake of pleasure, the meaning of action that the subject realize with the total disregard of the external circumstances, the meaning of doubts about the truth of something or comparison with something, the meaning of assumption or possibility, probability of some events and others. Some of the meanings can be expressed by the totality of linguistic resources. On the whole the use of the complicated simple verbal predicate is a distinguishing feature of the author’s style of Alexander Ostrovsky seeking to paint the vivid domestic picture of merchant-burgher environment, create the original characters, to reveal the psychology of characters through the everyday conversational constructions.

Keywords: meaning, functioning, the plan of content, the plan of expression, ways of complication, simple verbal predicate, the types of predicate, dramaturgy, conversational style, Alexander Nikolaevich Ostrovsky