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Introduction. Issues of the author’s writing style, means and methods of constructing an individual author’s artistic picture of the world have always been in the focus of attention of researchers. The object of this paper is H. P. Lovecraft’s stories, which are part of horror literature. The subject of the paper is repetition, which plays a special role in a literary text as a means of artistic expression. Conducting research is relevant for several reasons, like interest in the consideration of the functional aspects of the literary text as a whole, or to H. P. Lovecraft’s works in particular, as the horror genre of literature is one of the most popular in modern society. The purpose of this study is to identify the most productive types of repetitions and their pragmatic functions in the H. P. Lovecraft’s stories.Methodology and sources. General methods of this research are functional analysis of repetitions, supplemented by the quantitative method. Repetitions used in the stories are separated and analyzed based on their following functions: pragmatic focus, emotivity and rhythmization. The material of the study was the following works of the author: “Dagon”, “Beyond the Wall of Sleep’”, “The Music of Erich Zann”, “The Other Gods”, “The Hound”, “The Rats in the Walls”, “The Call of Cthulhu”, “The Descendant”, “The Dunwich Horror”.Results and discussion. Repetition is a significant element of H.P. Lovecraft’s writing style. In the analyzed works, repetitions are presented in various types: simple verbatim repetitions (contact and remote), anadiplosis, epanalepsis, synonymous, syntactic (lexical and syntactic parallelism). Lexico-semantic analysis of repetitions showed that the most frequent units in H.P. Lovecraft’s stories are such lexemes as “old” (125), “night” (95), “great” (85), “strange” (62), “gods” (48), “horror” (48). Their use can be attributed to the author’s desire to create a sense of "cosmic fear", to highlight the themes of ancient and hidden evil with “divine” forces. Functional analysis has shown that repetitions are most often used to highlight the most important elements of the text (pragmatic focus), convey the emotional states of the characters, create an appropriate emotional atmosphere (horror, fear), as well as rhythmic organization and stylistic imitation of religious discourse.Conclusion. Repetition as a stylistic figure is an important technique of pragmatic focusing and a significant element of the H.P. Lovecraft’s writing style, emerging in various structural variations and performing many functions.

Cross-linguistic studies on co-production of syntactic units and compound sentence formats have found that the location of predicates affects the projectability of the language, in that languages like English allow early projections while languages like Japanese later projections. In Mandarin Chinese, we found that syntactic parallelism often occurs before co-constructions, impacting the projectability of syntactic structures in one way or another. Based on the theories of dialogic syntax (Du Bois 2007, 2014) and the principles of interactional linguistics, this study explores the relationship between syntactic parallelism and co-production of syntactic structures across turns. The co-production of four syntactic and sentential structures were closely examined, namely, Copula V + Complement, (be) Adjectival Predicate, the conditional IF X THEN Y construction (如果 ruguo...... 就/会 jiu/hui......), and compound sentences with to-clause of purpose. Also observed is the emergent new sequence as interactionally relevant syntax. Upon inspection, we found that turn units with parallel syntactic structures may help narrow down the category of the projected final component, thus inspiring the second speaker to come in early and jointly complete the syntax-in-progress. Apart from co-producing syntax-in-progress, co-produced structures can also develop into interactionally relevant sequences with independent internal structures, thereby executing new social actions. [ABSTRACT FROM AUTHOR]

This article is devoted to the problem of the structural organization of the poetic form of speech, namely, to the consideration of expressive syntactic constructions that are an integral part of the poetic syntax, the identification of theAs a result of the study, it is made a conclusion about the polyfunctionality of expressive syntactic constructions that are performed in the poetic text and that also have a pronounced pragmatic function manifesting expressiveness in poetic speech conditioned by authorial subjective modality, besides the text-forming function that provides the semantic integrity and structural coherence of the text. peculiarities of their use in the poetic text, in particular, in free-rhythmic poetry. On the example of studying certain poetic works by F.G. Klopstok and J.W. Goethe, written in free rhythms, the statistical analysis of the frequency of the use of certain expressive syntactic constructions is presented: enjambements, syntactic parallelisms and inversions.

The development of modern linguistics is characterized by ever more frequent attention of linguists to questions of the semantic structure of some lexical units of the modern Russian language. Many researchers point in their works on the “many aspects” of the semantics of impersonal verbs.The study of the semantics of impersonal verbs is carried out within the category of impersonality at the morphological-syntactic level. The results of already conducted studies show that the semantics of the verb is complex, diverse and interesting, and therefore deserves special attention.The aim and objectives of the paper consist in a detailed examination of the causes contributing to changes in the use of impersonal verbs in the case of syntactic parallelism. The specificity of the expression of action and the state of the impersonal verbs are determined, their grammatical and semantic classification is realized, and extralinguistic as well as linguistic factors that lead to semantic changes in the structure of impersonal verbs are grouped.

The highest form of the folklore of every nation is the epic which expressive means are unique in relation to the artistic word of other nations and are common for all the oral and literary artistic creativity of the nation which wrote the epic. Therefore, the article's comparative analysis of the translation equivalents of the linguistic means which form the elevated "olonkho style" in Russian is conducted on the basis of the works of one of the founders of Yakut literature, Platon Oyunsky, and has the goal of identifying ways of transferring the "olonkho style", i.e. transferring the Yakut language features to the translation not only through culture-specific vocabulary but by other means as well. In result, the means of the Russian language able to adequately convey the "olonkho style" in Russian are identified. First of all, these are the tools that distinguish elevated style in the Russian language itself - archaisms and high style vocabulary. Translators choose words with the lowest level of national features from the wide range of this vocabulary, i.e. those words that are applicable to translate elevated style texts of any other language. When conveying the "olonkho style", the morphological methods of composition and synonyms and antonyms combination in paired words are actively used. These word-building patterns are specific for the Russian language, but when translated from Yakut into Russian, the national features are conveyed by the unusual combinations of words for the Russian language. The most distinctive feature of the "olonkho style" - and the most difficult in translation - is the conveyance of the rhythmic pattern of the epic narration. This can be done by imitating syntactic parallelisms based on vowel harmony and synonymity, by constructing equal-word and parisyllabic repeating syntactic constructions that do not necessarily reproduce the number of parallelisms in the original. Thus, when translated into Russian, the "olonkho style" is recreated not only due to the exoticness of the source material but also due to the exploitation of word-building and clause-forming potential of the target language. [ABSTRACT FROM AUTHOR]

Abstract: Work in experimental psycholinguistics has shown that the processing of coordinate structures is facilitated when the two conjuncts share the same syntactic structure [Frazier, L., Munn, A., & Clifton, C. (2000). Processing coordinate structures. Journal of Psycholinguistic Research, 29(4) 343–370]. In the present paper, we argue that this parallelism effect is a specific case of the more general phenomenon of syntactic priming—the tendency to repeat recently used syntactic structures. We show that there is a significant tendency for structural repetition in corpora, and that this tendency is not limited to syntactic environments involving coordination, though it is greater in these environments. We present two different implementations of a syntactic priming mechanism in a probabilistic parsing model and test their predictions against experimental data on NP parallelism in English. Based on these results, we argue that a general purpose priming mechanism is preferred over a special mechanism limited to coordination. Finally, we show how notions of activation and decay from ACT-R can be incorporated in the model, enabling it to account for a set of experimental data on sentential parallelism in German. [Copyright &y& Elsevier]