This paper focuses on Scratch language of programming and traces its math and linguistic features. From a complex consideration about Scratch language programming in linguistic paradigm, focusing on structural, semantic and syntactic features and logic of its narration, this research attempts to clarify specifics of the language and correlate it with the English language features. Global integration of ideas and sciences underline the crucial importance of programming and language conglomerate. Human-computer interfaces, software systems, and development of various programming languages depend on well-balanced structure, shape, logic, and appearance of the actual code. Dynamic characteristics of the Scratch programming environment sustain the creation of interactive and media-rich projects. Ad expansion of Scratch for mediation of animated stories, music videos, science projects, tutorials, and other contents necessitates multifaceted analysis of this programming environment and evokes

The article focuses on psycholinguistic features of the secondary multimodal discourse of the modern English mass culture as a linguistic, social and cultural phenomenon and a specific type of communication with a peculiar context. This research paper represents the unique and valid definition of the secondary type discourse, its role, and place as the phenomenon of the convergence culture in the modern English youth subculture. Based on the differentiation of such related concepts as «youth subculture» and «interpretative community» the research proves that the latter concept is a structural element of a fan subculture. Both of these two concepts model the environment of the secondary textual spaces arranging. The focus of the paper concerns the creation of interpretative communities based on large-scale transmedia projects. The latter develop narration to transfer the world or the project story to the recipient from various perspectives and in different forms. Another concern of the study is that development and expansion project platforms can go far beyond technical means of information creation and transfer. Transmedia project can concentrate on the primary literary source, TV series, a computer game, and different related products thus anyway contributing to the representation of the whole story. Therefore, this psycholinguistic study focuses on a large-scale factual material the Marvel Universe with its elements represented on various platforms. In combination, these elements create a cohesive plot and a compositional space. Based on the sociolinguistic experiment results (questionnaires of totally 100 English native speakers), it is claimed that an integrative condition of the Marvel Universe transmedia storytelling is the independence of each separate platform. The main findings of this research cede on the statistical data, the results of online-questionnaires, and show that only 15% of the respondents are acquainted with the part of the Universe represented in comics. 80% of the respondents believe that movies are the starting point for the Universe entering and thus they are perceived as independent works. Only 5% of the respondents expressed their uncertainty about the priority of one or another platform. Another finding is that transmedia storytelling and participatory сulture are two key features of convergence culture. The recipients of such large-scale projects lose the status of passive consumers and within the interpretative communities, they become producers of a new media content. Thus, we identify the psycholinguistic mechanism of the modern English mass culture secondary textual spaces arranging through the dominant features of a new cultural paradigm, such as an active development of participatory culture, intertextuality, multimodality, and transmedia storytelling. In the social and discoursive space of the youth subculture, the recipients borrow any idea, image, plot or a character from the cult textual space, convert them into diverse media formats, and expand them across all available platforms. Thus, the recipients create the unified and inseparable secondary multimodal textual space.

Purpose of the article. This paper attempts to conduct a case study of the modern media discourse production process through basic principles of participatory culture. The object of the research is the modern media discourse phenomenon, and the subject is its cultural aspect. The article views the modern media discourse as a linguistic, social and cultural phenomenon and a specific type of communication with a peculiar context. The paper focuses on the cultural dimension in fan-studies as an innovative research methodology for analyzing the dominant features of fan culture and for identifying the impact of different participatory culture principles on the process of modern media discourse arrangement. Scientific novelty is caused by the study of media discourse production through fan culture. Therefore, the paper clarifies such interdependent notions as fans, media, media convergence, media discourse, and transmedia storytelling. Fans are defined as individuals who maintain a passionate connection to popular media. The authors consider-new‖ media versus-old‖ one providing characteristics of both types. Media convergence is viewed as an integral part of media discourse and implies the integration of different media types. In conclusion, the authors emphasize that media convergence makes modern life more interactive and encourages the audience to participate in the modern media discourse arrangement. Thus, the process of modern media discourse production should be primarily associated with the emergence of multiple media platforms and the active involvement of the audience in the production and consumption of the media content across different media platforms.