The article is devoted to the differentiation of the stages of the artistic realia introduction into English literary texts based on the artistic communicative situations, taking into account the peculiarities of the communicants’ interaction, artworks actualisation, and realisation of time and space characteristics in the artistic discourse. The stage by stage differentiation of the artworks introduction into the literary text is developed based on the structural analysis of the artistic communicative situations. Accordingly, there are preintroductive, introductive, and postintroductive stages. The completeness of each stage representation is determined by the form of the artwork in the literary text and can be complete, compressed, or zero. In the article, the peculiarities of each stage are defined based on the analysis of the illustrative material. There are preintroductive (determining the time and space parameters of the communicative situation before artwork mentioning, introduction of the participants and description of their appearance and inner state), introductive (introduction of the artwork into the communicative situation, description of such components as form, meaning, artwork characteristics, and emotions connected with it), and postintroductive stages (reaction to the artwork after its perception, realised in the form of the verbalised or non-verbalised communication and capable of stimulating the discussion of the perceived information). Special attention is given to the peculiarities of the artworks introduction from the performer’s and the recipient’s points of view; the details and aspects of their descriptions are considered. Depending on the person who tells the story, the stages of introduction can be prerepresentational, representational, and postrepresentational (in the performer’s descriptions) or preperceptive, perceptive, and postperceptive (in the recipient’s descriptions).

associated with verbal and non-verbal communication. The purpose of the article is to study the discursive and communicative-pragmatic nature of poetical images of silence in the English-language literary discourse. The universal and cultural functions of this notion were analysed and the main approaches to the poetical silence study were determined. It became clear that the phenomenon of Nature Silence can be actualised with the help of Nature and other landscape images in the field of English literary discourse. Such images must belong to the paradigm of English landscape images represented by Earthy, Aerial and Celestial substantial nature symbols. In terms of discourse-communicative approach to the study of communicative silence, these elements play an important role of the main producers of Nature Silence. This work proposes the new pragmatic and communicative approach of understanding the Nature silence in English literary discourse. The main verbal units that can actualise the poetical image of silence are characterised by the permanent correlation with the different symbols of nature, showing the dominant and peripheral characteristics. Being the pragmatic realisation of silence image, motives of Nature Silence may be considered both as dominant and background.

An artistic phenomenon as cultural element in the system of humanities knowledge is functioning in close connection with language and has a potential of aesthetic, emotional, and informative influence, constituting moral and world outlook cues, as well as ideals and goals of the humanity. Adherence of language and different kinds of art is determined in frames of language realisation as communication means and standard of dynamic processes of the humanity development, in which an important role is played by art [5, p. 31].Being an important part of human life, artistic phenomenon is widely used in literary texts as they represent the reality. In this paper artworks are considered as part of communicative process and are fully-featured elements of communicative act.Nominative and stylistic parameters of artistic realia actualisation in English are exteriorised due to the use of artistic realia nominations in lexicosemantic field of art. Artworks nominations are verified in lexicographic and literary sources by means of lexico-semantic groups, which are subordinate to the archiseme «art» and are represented by such lexemes as music, painting, sculpture, architecture, theatre, etc. There are direct and indirect nominations of artistic phenomena. Direct nominations are fixed in lexicographic sources. Indirect nominations are objectivised in the form of reference according to the title, genre, author/representator, means and ways of representation [3, p. 47; 4, p. 112; 7 p. 53].Communicative and discursive peculiarities of artworks description in English literary texts are considered as message in the process of communication, as well as status, role, time and space characteristics of the artistic discourse. Special attention should be given to the consideration of the information channels in the artistic communicative situation and background knowledge realisation in the process of artworks decoding in English literary texts [1, p. 48].Artwork is considered as message in artistic communicative situation on the basis of the analysis of its role (element of context, object or subject of the

0671 кандидат філологічних наук, асистент кафедри германської філології Сумського державного університету Денисенко А.С., orcid.org/0000-0001-8073-6883 студент IV курсу факультету іноземної філології та соціальних комунікацій Сумського державного університету У статті на матеріалі роману Маркуса Зузака «Крадійка книжок» розглядаються особливості інкорпорації німецькомовних елементів в англомовний художній текст. Увага приділяється основним аспектам реалізації іншомовних елементів у тексті з урахуванням їхньої інтертекстуальної природи, де за основу береться твердження, що будьякий текст є складником широкого культурного гіпертексту. Ураховуючи часо-просторові параметри розгортання сюжету в досліджуваному романі, у статті актуалізуються історичні, соціальні й геополітичні особливості тогочасного суспільства, які спонукали автора роману до вживання широкого спектру німецькомовної лексики в англомовному романі.