This article discusses translation strategies involved in reproducing ludic effects in Russian and Ukrainian translations of Coetzee’s novel Disgrace. Ludic effects, embedded in the text, outline the potential result(s) of literary gaming. Created in different games, a number of ludic effects trigger ludic stylistics – a new heuristic area of linguistic “ludology”. The paper defines ludic stylistics as an artistic phenomenon manifested in literary text due to unconventional combinations of various linguistic means. In Coetzee’s Disgrace, ludic stylistics is the result of psychonarrative games aimed to transform plot-driven narratives into experience-centred. Psychonarrative games are governed by two principles – “external via internal” and semantic intrusiveness through semantic, plot-building, and compositional games represented at the macro- and microlevels of literary text. The study focuses on sematic games which enable construing new, emergent textual senses which bring the personage’s / narrator’s unceasing, obsessive experience of traumatic events to the fore. The paper looks at the translation strategies of rendering ludic effects in the translations of Coetzee’s Disgrace from two perspectives – intentional and receptive. The reproduction of such effects in Russian and Ukrainian translations of Disgrace is grounded in lexico-semantic, syntactic, associative-figurative, and functional equivalence, as well as respective loss, and gain.

Nowadays, digital communication helps people to establish contact quickly and conveniently, to convey their message, ideas, the vision of the world to a wide audience. In this regard, new challenges have emerged for discourse analysis in the field of research on the features of digital communication, digital communication practices, the impact of electronic communication technologies on the formation and conduct of discourse, application, and influence of extralinguistic factors on speech. The article analyzes the problems and features of discourse using digital technologies, current trends, and new data in the field of social networks, hashtag activism, problems of involvement, activity, motivation of participants in online communication, formation of their online identity. The authors used system-functional, hermeneutic methods, linguistic analysis, methods of analysis, and synthesis in the framework of discourse theory. The study found and confirmed that the features of digital communication practices and the formation of discourse on the Internet are the widespread use of social networks, hashtags, social integration activities such as challenges, the use of special vocabulary specific to Internet communication, the ability to express themselves and form their own online user identity. Extralinguistic factors of discourse formation in digital communicative practices are major from the point of view of discourse analysis.

This article provides theoretical and methodological foundation for linguistic narratology of ludic literaryforms. This new area of research is aimed to (i) characterize ludic models of fictional narrative from a linguisticperspective; (ii) ascertain the specificity of ludic techniques in contemporary literary narratives; (iii) define a rangeof linguistic means producing ludic effects with regard to ludic text- and sense-making in literary text. The paperclams that ludic literary forms are the result of various fictional games. The research views ludic literary formswithin the bounds of the intentional, immanent, and receptive perspectives of literary text study. In termsof the intentional viewpoint, ludic literary forms are considered as deconventionalized literary structures whichoriginate due to breaking-up conventional genre-bound narrative patterns with further elaboration of new onesthrough their numerous transformations. According to the immanent approach, ludic literary forms are distinguishedby structural and semantic emergency. From the receptive standpoint, such literary forms are defined by the nonprototypicalinterpretation, which results in the reconstruction of new, emergent senses and inferences. In Coetzee'snovels, ludic literary forms are created due to the manifestation of psychofictional, metafictional, and autofictionalgames. Narrative gaming reveals itself via two facets – text- and sense-making. Accordingly, in Coetzee's fictionthree types of ludic literary forms were singled out: psychonarrative, metafictional, and autofictional. The paperperforms a linguistic and poetic analysis of such literary forms in terms of the "nodal points" technique andwith reference to a system of linguistic signals of psychofictional, metafictional, and autofictional games.

The monograph represents a new interpretation of the relationship between the phenomenon of a Man and the triad of LANGUAGE -CULTURE -DISCOURSE. Taking into account the new cognitive-discursive approach, the authors made an attempt to harmonize their scientific observations with the content of the studied macrolinguistic issues in three parts of the monograph. A general methodology was developed for analysis of factual material. The key narratives of each type of discourse reproduce the value constants and dominants of ethnic groups at various stages of civilizational and planetary development. The concept of the monograph is the triad of LANGUAGE -CULTURE -DISCOURSE that is interpreted as an extremely complex synergistic continuum of an open type, which takes on material form with the participation of a Man, i.e. a representative of certain social communities and, at the same time, a generator of various types of speech, which ensures efficient communication of its participants. Figures 15, Tables 4, References 313 items.

Ізотова Н. П. доктор філологічних наук, доцент, професор кафедри англійської філології і філософії мови Київський національний лінгвістичний університет м. Київ, УкраїнаTraditionally, pragmatics is viewed as "the study of all aspects of linguistic behaviour" [1, p. v]. Besides, it covers semiotic behaviours in all their multimodality [2, p. 96]. Pragmatics concerned with the production and consumption of literary texts is termed as literary pragmatics [3, p. 511]. It primarily focuses on "what readers infer" from the language and behaviours, and the way in which those will "predetermine to a certain degree" interpretation [2, p. 96].This paper sets out to specify pragmatic effects brough about by the multimodal presentation of characters in cinematic discourse. In cognitive narratology, characters are defined as "multimodal (semiotic) constructs in the service of a narrative aimed at a target audience, and therefore exist in the minds of that audience as cognitive constructs [4, p. 2022]. This research offers a landscape modal [5] for construing characters in film discourse. Specifically, a film character is viewed as a cognitive construct which incorporates three landscapesemotional, behavioural (actional), and cognitive, each of them is represented multimodally.Bednarek distinguisges two kinds of multimodality in TV discoursemultimodality in character presentation and multimodality in the film in general. The former is about various semiotic dimensions of character performance, i. e. gestures, gaze, facial expression, etc.; whereas the latter refers to "the meaning potential of the moving image itself" [6, p. 20] and includes such aspects as camera, editing, lightning, and sound.Thus, the multimodal analysis of characters in film encompasses three procedures: 1) a linguostylistic analysis of film dialogue in terms of key