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This article is devoted to the consideration of the historical interpretation of syntactic parallelism and the modern approach to studying the nature of this type of expressive syntax.

Пропонована стаття окреслює стилістичні фігури синтаксичного рівня, які є виразниками емоцій у газетно-публіцистичному тексті. Матеріалом дослідження слугують тексти інтерв’ю, промов, заяв і дебатів провідних британських політиків (Девіда Кемерона (David Cameron), Ніка Клегга (Nick Clegg), Гордона Брауна (Gordon Brown). Емоційні стани в аналізованих текстах вербалізуються за допомогою стилістичних фігур, які підвищують виразність мовлення й підсилюють його емоційність за допомогою особливих синтаксичних будов. Серед стилістичних фігур виокремлюємо номінативні речення, парцеляцію, риторичні питання, синтаксичний паралелізм, антитезу, емфазу й повтор, які мають свої особливості застосування в досліджуваних текстах. У переважній більшості випадків стилістичні фігури є виразниками негативних емоцій (занепокоєння, гніву, незадоволення, обурення, презирства, роздратування). Стилістичні фігури синтаксичного рівня є характерною ознакою газетно-публіцистичних текстів, оскільки мовцю важливо правильно організувати, побудувати своє висловлення, щоб не лише передати власні емоційні стани, а й викликати відповідну реакцію в адресата, переконати адресата у правильності висловлюваних положень, ідей, тверджень тощо. Ще однією закономірністю виявляється конвергенція, тобто вживання різних стилістичних фігур в одному мовленнєвому контексті, їх «нанизування» одна на одну, доповнення. Так, зокрема, паралельні конструкції можуть оформлювати як частини речення, так і окремі речення, можуть супроводжуватися різного роду лексичними повторами, а також антитезою, парцеляцією. В той же час антитеза може будуватися на узуальній лексичній антонімії, на контекстуальних антонімах та синтаксичному паралелізмі., Предлагаемая статья характеризует стилистические фигуры синтаксического уровня, которые являются выразителями эмоций в газетно-публицистическом тексте. Материалом исследования послужили тексты интервью, выступлений, заявлений и дебатов ведущих британских политиков (Девида Кемерона (David Cameron), Ника Клегга (Nick Clegg), Гордона Брауна (Gordon Brown). Эмоциональные состояния в анализируемых текстах вербализируются при помощи стилистических фигур, которые усиливают выразительность речи и повышают ее эмоциональность при помощи особенных синтаксических построений. Среди стилистических фигур выделяем номинативные предложения, парцелляцию, риторические вопросы, синтаксический параллелизм, антитезу, эмфазу и повтор, которые имеют свои особенности употребления в исследуемых текстах. В большинстве случаев стилистические фигуры выражают негативные эмоции (беспокойство, гнев, недовольство, возмущение, презрение, раздражение). Стилистические фигуры синтаксического уровня являются характерной чертой газетно-публицистических текстов, поскольку говорящему важно правильно организовать, построить свое высказывание для того, чтобы не только передать собственные эмоциональные состояния, но и вызвать соответствующую реакцию у адресата, убедить адресата в правильности высказываемых положений, идей, утверждений и прочее. Еще одной закономерностью является конвергенция, то есть употребление разных стилистических фигур в одном речевом контексте, их «нанизывание» одна на другую, дополнение. Так, к примеру, параллельные конструкции могут оформлять как части предложения, так и отдельные предложения, могут сопровождаться различными лексическими повторами, а также антитезой, парцелляцией. В то же время, антитеза может основываться на узуальной лексической синонимии, на контекстуальных антонимах и синтаксическом параллелизме., The given article highlights the stylistic figures of the syntactic level, which are the expression of emotions in the newspaper and publicist texts. The study was based on the texts of interviews, speeches, statements and debates of the leading British politicians (David Cameron, Nick Clegg, Gordon Brown). Emotional states in the analyzed texts are verbalized using stylistic figures that enhance speech expressiveness and increase its emotionality with the help of special syntactic constructions. Among stylistic figures we single out nominative sentences, detachment, rhetorical questions, syntactic parallelism, antithesis, emphasis and repetition, which have their own peculiarities of use in the studied texts. In most cases stylistic figures express negative emotions (anxiety, anger, discontent, indignation, contempt, irritation) Stylistic figures of the syntactic level are a characteristic feature of newspaper and publicist texts, since it is important for the speaker to organize and build his utterance correctly in order not only to convey his own emotional states, but also cause an appropriate reaction from the addressee, to convince the addressee of the correctness of the statements, ideas, suggestions, etc. Another feature is convergence, that is, the use of different stylistic figures in one speech context, their "stringing" one on top of the other, their addition. So, for example, parallel constructions can form both parts of a sentence and separate sentences, they can be used with various lexical repetitions, as well as antithesis, detachment. At the same time, the antithesis can be based on common lexical antonyms, contextual antonyms and syntactic parallelism.

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 present article concentrates on the peculiarities of expressive syntactical means functioning in a science fiction text in the English language. Stylistic analysis of the text under consideration showed that such expressive means as inversion, syntactic parallelism and repetitions of homogeneous elements create syntactic rhythm of a science fiction work that provides for the shaping of cohesion of a fiction text and is one of the factors of a literary prose work expressiveness. Analysis of specific functioning of syntactic rhythm provides for arriving to the conclusion that one of the main functions of the said means is the function of foregrounding and emphasizing the most important text components that is an implementation of the fiction work influence aim.

The article analyzes different types of anaphoric repetitions in newspaper texts from 2016 to 2018. A variety of types of repetitions has recently attracted the attention of many Ukrainian and foreign researchers. In Ukrainian linguistics, the issue of the typology of the repetition is analyzed ambiguously. This is due to its ability to be implemented at different language levels and to form stylistic figures. The most common type of repetition in modern Ukrainian press is anaphoric. Anaphora in modern linguistics is defined as one of the types of lexical and syntactic repetition, and rarer – lexical, which provides the structural organization of the text. An anaphora is interpreted as a stylistic figure formed by repetitive words, phrases, predicate parts of a complex sentence or sentence in the original unit of the syntactic level. However, from the point of view of functional and semantic loading in the language of the modern Ukrainian press, anaphora is not described enough, as causes an urgency of a theme of research. Article purpose is to investigate various kinds of anaphoric repetition, in terms of their structure and functions. Achievement of the purpose demands the decision of following problems: to identify the typical varieties of lexical and syntactic anaphora, to define its functions and to clarify the role in the semantic and pragmatic load in newspaper texts. Research conclusions: anaphoric repetition is a powerful means of semantic connectivity of the text in modern Ukrainian press. In the analyzed texts a complete anaphoric repetition is the most commonly used, less often – amplifying, paradigmatic and antonymic, and occasionally – expanded and phraseological. We observe the tendency to combine anaphora with syntactic parallelism, which concentrates the attention of the reader on a particular problem. For the most part, the anaphoric repetition in the texts of the periodical press fulfills the declarative and reinforcing functions by which journalists influence the formation of the behavior, views and social consciousness of the readers. Key words

The article analyzes different types of anaphoric repetitions in newspaper texts from 2016 to 2018. A variety of types of repetitions has recently attracted the attention of many Ukrainian and foreign researchers. In Ukrainian linguistics, the issue of the typology of the repetition is analyzed ambiguously. This is due to its ability to be implemented at different language levels and to form stylistic figures. The most common type of repetition in modern Ukrainian press is anaphoric. Anaphora in modern linguistics is defined as one of the types of lexical and syntactic repetition, and rarer – lexical, which provides the structural organization of the text. An anaphora is interpreted as a stylistic figure formed by repetitive words, phrases, predicate parts of a complex sentence or sentence in the original unit of the syntactic level. However, from the point of view of functional and semantic loading in the language of the modern Ukrainian press, anaphora is not described enough, as causes an urgency of a theme of research. Article purpose is to investigate various kinds of anaphoric repetition, in terms of their structure and functions. Achievement of the purpose demands the decision of following problems: to identify the typical varieties of lexical and syntactic anaphora, to define its functions and to clarify the role in the semantic and pragmatic load in newspaper texts. Research conclusions: anaphoric repetition is a powerful means of semantic connectivity of the text in modern Ukrainian press. In the analyzed texts a complete anaphoric repetition is the most commonly used, less often – amplifying, paradigmatic and antonymic, and occasionally – expanded and phraseological. We observe the tendency to combine anaphora with syntactic parallelism, which concentrates the attention of the reader on a particular problem. For the most part, the anaphoric repetition in the texts of the periodical press fulfills the declarative and reinforcing functions by which journalists influence the formation of the behavior, views and social consciousness of the readers. Key words

This paper analyzes the functions of stylistic figures in the Russian newspaper text. Material was from the texts of different genres, published in the Central Newspapers of Russia. We analyze anaphora, syntactic parallelism, parcelling. Different logical and expressive function of the mentioned figures. We identify and describe the semantic and stylistic varieties of each figure. Работа посвящена анализу функционирования стилистических фигур в русском газетном тексте. Материалом послужили тексты разных жанров, опубликованные в центральных газетах России. Анализируются фигуры анафора, синтаксический параллелизм, парцелляция. Различаются логическая и экспрессивная функция названных фигур. Выделены и описаны семантико-стилистические разновидности каждой из них.

The article is devoted to syntactic parallelism as a phenomenon with a special status in expressive syntax. The aim of this research is to reveal that syntactic parallelism is a semantic and structural integrity which is constructed on the basis of symmetry as a principle of the organization of its components.

The article deals with syntactic parallelism as a semantic and structural integrity. Syntactic parallelism is the constructive principle of syntactic structures. Analysis of syntactic parallelism as a certain type of symmetric formation helps extend our idea of its structural and semantic, and stylistic features.