ࡱ> #`bjbjmm.,i':::::::N^^^^R_N-bbbbbbc c@BBBBBB$hK2f:ebbeef::bbe~:b:b@e@::bb <^Zv0$ 0-}}}}:ĀXccr)d\dWcccff ccc-eeeeNNN$<r@DNNNr@NNN:::::: "  !,% "  $  ! " !"!" !,   2017-2018 . . 45==5 2V44V;5==O !@V728I5 ABC45=B00720 B5<8 C:@0W=AL:>N <>2>N0720 B5<8 0=3;V9AL:>N <>2>N @V728I5 :5@V2=8:0 @V728I5 @5F5=75=B0 1=4@>IC: ..=3;><>2=0 BC@8AB8G=0 B5@<V=>;>3VO (DC=:FV>=0;L=89 0A?5:B)English Terminology of Tourism (Functional Aspect):.DV;>;.=., 4>F. !B@>G5=:> ..:.DV;>;.=., 4>F. @02G5=:> ..2T;8E . 5@10;V70FVO :>=F5?BC FEAR C @><0=0E !. V=30  Pet Sematary B0 . 0@:5@0 The Scarlet Gospels Lexicalisation of Concept FEAR in S. King s Pet Sematary and C. Barker s The Scarlet Gospels :.DV;>;.=., 4>F. >74=O:>2 .. :.DV;>;.=., 4>F. >60@8FL:0 .. 30940<0G5=:> . V=32VAB8G=V 70A>18 AB2>@5==O 5<>FV9=>W =0?@C38 2 >?>2V4OE .. > Linguistic Means of Creating Suspense in E.A. Poe s Short Stories:.DV;>;.=., 4>F. >74=O:>2 .. :.DV;>;.=., 4>F. V3C=>20 .. 45<G5=:> .5:A8:>-A5<0=B8G=5 ?>;5 B:0=8=8 2 0=3;V9AL:V9 <>2V B0 <>2;5==VLexical Semantic Field  Fabrics in the English Language and Speech:.DV;>;.=., 4>F. !B@>G5=:> ..:.DV;>;.=., 4>F. @02G5=:> ..5 @>1V: . $C=:FV>=C20==O =5>;>3V7<V2 C @><0=0E .>C?;5=40  Generation X: Tales for an Accelerated Culture B0  Generation A Functions of Neologisms in D. Coupland s Novels Generation X: Tales for an Accelerated Culture and Generation A :.DV;>;.=., 4>F. >74=O:>2 .. :.DV;>;.=., 4>F. >60@8FL:0 .. 601>;>B=0 . A>1;82>ABV @5?@575=B0FVW ?@>AB>@C 2 @><0=V 6. ABV=  Pride and Prejudice Peculiarities of Space Representation in the Novel Pride and Prejudice by J. Austen :. DV;>;. =., 4>F. "5@5E>20 . . :. DV;>;. =., 4>F. ;V=GC: . . 70?CABO=8: .>=F5?B 10;L=8E B0=FV2 2 0=3;V9AL:V9 ;VB5@0BC@V (=0 <0B5@V0;V @><0=C M. Mitchell "Gone with the Wind.")The Concept of BALLROOM DANCES in the English Literature (based on the Novel "Gone with the Wind" by M. Mitchell)4.DV;>;. =., ?@>D. >;530T20 . .:. DV;>;. =., 4>F. V3C=>20 ..80@0A528G .0@0B82=0 AB@C:BC@0 @><0=C . @>=B5 Wuthering Heights Narrative Structure of E.Bronte s Wuthering Heights4.DV;>;. =., ?@>D. >;530T20 . .:.DV;>;.=., 4>F. !8=O2AL:0 . .90H<8=0 .!:0=48=02AL:V 70?>78G5==O 2 0=3;V9AL:V9 <>2VScandinavian Borrowings in the English Language4.DV;>;. =., ?@>D. >;530T20 . .4.DV;>;. =., ?@>D. ><1@>20= "..10>15;520 .5:A8:>-A5<0=B8G=0 3@C?0 <C78G=V AB8;V 2 0=3;V9AL:V9 <>2V (A5<0AV>;>3VG=89 B0 >=><0AV>;>3VG=89 0A?5:B8)Lexical Semantic Group  Music Styles in the English Language (Semasiological and Onomasiological Aspects) :.DV;>;.=., 4>F. !B@>G5=:> ..:.DV;>;.=., 4>F.@L><5=:> !..110E=> .V=32>AB8;VAB8G=V >A>1;82>ABV ?>@B@5B=8E >?8AV2 2 @><0=V . @VABV  And there were none Linguostylistic Peculiarities of Portrait Descriptions in A. Christie s And there were none:.DV;>;.=., 4>F. >?V: . .:. DV;>;. =., 4>F. @02G5=:> ..120@40@L !. C<>@ 2 0=3;><>2=V9 EC4>6=V9 ?@>7VHumour in the English Belles Letres Prose4.DV;>;. =., ?@>D. >;530T20 . . :. DV;>;. =., 4>F. V3C=>20 ..130B>;VG .%C4>6=V9 ?@>ABV@ 2 >?>2V40==OE (. =45@A>=0 Artistic Space in Sh.Anderson s Short Stories :.DV;>;.=., 4>F. >?V: . .:.DV;>;.=., 4>F. 101V=0 . . 14>A0G5=:> . 0A>18 AB2>@5==O :><V7<C 2 @><0=V . 40<A0 The Hitchhiker`s Guide to the GalaxyMeans of Creating Humourous Effect in D.Adam s The Hitchhiker`s Guide to the Galaxy4.DV;>;. =., ?@>D. >;530T20 . . :. DV;>;. =., 4>F. @02G5=:> ..15;V9=8: . V=>G89 ?>@B@5B 2 @><0=V (. @>=B5  Jane Eyre Female Portrait in Sh.Bronte s Jane Eyre:.DV;>;.=., 4>F. >?V: . .:.DV;>;.=., 4>F. 560= . . 16;5B5=GC: . 0A>18 >@30=V70FVW ?V4B5:ABC 2 @><0=V . @V=0  The Quiet American Means of Creating Implication in G.Green s The Quiet American:.DV;>;.=., 4>F. "E>@ ..:.DV;>;.=., 4>F. 0=G5=:> . . 17;VA:0 . V=32>-AB8;VAB8G=V E0@0:B5@8AB8:8 >?8AV2 7>2=VH=>ABV ?5@A>=06V2 C @><0=V . @>=B5  Wuthering Heights Linguostylistic Peculiarities of Portrait Descriptions in E.Bronte s Wuthering Heights:.DV;>;.=., 4>F. "E>@ ..:. DV;>;. =., 4>F. @83>@O= . .18>B0?5=:> . %C4>6=V9 E@>=>B>? C @><0=V . 5D>  Robinson Crusoe Artistic Chronotope in the novel  Robinson Crusoe by D.Defoe:.DV;>;.=., 4>F. >?V: . .:.DV;>;.=., 4>F. 8<0@5=:> . . 19!8G .$>@<0;L=>-7<VAB>2=0 AB@C:BC@0 V=VFV0;L=8E 0170FV2 2 >?>2V40==OE ?8AL<5==8:V2 V245==>W H:>;8 0<5@8:0=AL:>3> @><0=C Formal !ontent Structure of Initial Paragraphs in Short Stories by The Southern School of American Writer:.DV;>;.=., 4>F. "E>@ ..:. DV;>;. =., 4>F. >9A5T=:> ..20!<03;N: .0?>78G5==O O: 465@5;> ?>?>2=5==O 0=3;V9AL:>3> 2>:01C;O@CBorrowings as a sourse of the English vocabulary expantion4.DV;>;. =., ?@>D. >;530T20 . . 4.DV;>;. =., ?@>D. ><1@>20= "..21"010G5=:> .0B53>@VO >FV==>ABV 2 :V=>@5F5=7VWThe Category of Evaluativeness in Cinema Review 4.DV;>;. =., ?@>D. >;530T20 . . 4.DV;>;. =., ?@>D. ><1@>20= ". &24B~ p    $ T X Z \ p r Ƚ}rk hhfuhJbhfumH sH hJbmH sH  h7hfuh mH"sH"h%=mH"sH"h7hPmH sH h7hfumH sH hhfumH"sH"h7hfumH"sH" hh hh mH"sH" hy:5h 5mH"sH"h 5>*mH"sH"hLh 5mH"sH"'4 N $Ifgd  $If]gd $a$gd   kd$$Iflֈ,<%pT t0`'44 lap<yt%= p  V $Ifgd7 $If]gd V X kd1$$Iflֈ,<%pT t0`'44 lap<yt%=X \ n p r t v x z | ~ @ B D  B D F H J L N P R $Ifgd7 $If]gd r v x z ~  > @ D ^  ͷm[H%h7hPB*mH nH"phsH tH""hP6B*mH nH"phsH tH""hfu6B*mH nH"phsH tH"(h%=h%=6B*mH nH"phsH tH"h%=B*mH nH"phsH tH"%h7hfuB*mH nH"phsH tH"hhfumH"sH"hhGmH sH hhfumH sH  hhfuhhPmH sH hh%=mH sH hh%=mH"sH"     @ B D F H J X ` Z ,4𣛐yiV%h%=h%=B*mH nH"phsH tH"hfuB*mH nH"phsH tH"h%=B*mH nH"phsH tH" hhfuhJbhfumH sH hJbmH sH  h7hfu%h%=h%=B*mH"nH"phsH"tH"hfuB*mH"nH"phsH"tH"%h7hfuB*mH nH"phsH tH"h%=B*mH"nH"phsH"tH"h7hfuB*nH"phtH"! $Ifgd7 kdb$$Iflֈ,<%pT t0`'44 lap<yt%= VXZ "$&dfhjl $Ifgd7 $If]gd 4lnpr Jl"$68<>FHNᒇ|uj_ujTuhh*mH"sH"hhZ RmH"sH"hh%=mH"sH" hhfuhZ RhfumH sH hZ RhZ RmH sH hZ RmH sH h7hfumH"sH"h%=mH"sH"hPmH sH h7hPmH sH h7hfumH sH hhfumH"sH"hJbhfumH sH hJbmH sH  h7hfuh7hfuB*nH"phtH" lnkd$$Iflֈ,<%pT t0`'44 lap<yt%=nr  $Ifgd7 $If]gd kd$$Iflֈ,<%pT t0`'44 lap<yt%= "$8:<>@BDFHJLN68:< " $Ifgd7 $IfgdZ R $If]gd 468< "(0BDVXĹll\I:\:\:\h7hfuB*nH"phtH"%hZ RhZ RB*mH nH"phsH tH"h%=B*mH"nH"phsH"tH"(h%=h%=6B*mH nH"phsH tH"(h%=hfu6B*mH nH"phsH tH"h%=B*mH nH"phsH tH"%h7hfuB*mH nH"phsH tH"hh*mH"sH"hhZ RmH"sH"%hh%=B*mH"nH"phsH"tH"%hh%=B*mH nH"phsH tH"hh%=mH sH X`bdfhrtv|jͽ̀uncucuP%hh) $Ifgd7 $If]gdJ((((((((((((<)>)@)F)b)n)))H*J*******+++,,,,,,,,,,,-- --ʻ١١للsٚ١ʄٚ hH6AhJ6B*mH phsH hH6AhJB*phhH6AhJmH sH  hH6AhJhH6AhJmH"sH"hH6AhJ6\]mH"sH"hH6AhJ6\]mH sH hH6AhJB*mH phsH hH6AhJB*mH"phsH"hH6AhJ\]hH6AhJ\]mH"sH"->))$$lֈ,<%pT t0`'44 lap<yt%=@)F)b))J*** $Ifgd7 $If]gdJ**kd$$Iflֈ,<%pT t0`'44 lap<yt%=***+,,- $Ifgd7 $If]gdJ--kd$$Ifl ֈ,<%pT t0`'44 lap<ytr- -6-- .j.. $Ifgdqi $Ifgd7 $If]gdJ- .&.(.0.2.4.f.h.j.p.r.z.|.~......./x/~/////////////0*ЦԦ^xĶ%hH6AhJB*mH"nH"phsH"tH"hH6AhJB*nH"phtH"hH6AhJ6mH sH UhH6AhJmH sH hH6AhJB*mH"phsH"hH6AhJmH"sH" hH6AhJhH6AhJB*mH phsH 7..kd$$Iflֈ,<%pT t0`'44 lap<ytqi.../x// $Ifgd7 $If]gdJ.22#@AC . >2=V 70A>18 @50;V70FVW :;0A>2>3> AB5@5>B8?C C @><0=V '. V::5=A0  Little Dorrit Linguistic Means Of Realisation of Class Stereotype in Ch. Dickens s Little Dorrit:.DV;>;.=., 4>F. >74=O:>2 .. :.DV;>;.=., 4>F. ;V=GC: .. 23$01V@>2AL:0 ".><?>78FV9=>-<>2;5==T20 D>@<0 >?8A C B2>@0E .#09;L40Narrative Compositional Form  Description in the Works by O.Wilde:.DV;>;.=., 4>F. !B@>G5=:> ..:.DV;>;.=., 4>F.@L><5=:> !..24$V=>35T20 . 1@07 1>652V;L=>W C @><0=V . $0@@5;;0 What Ever Happened to Baby Jane? The Character of the Insane Woman in H. Farrell s What Ever Happened to Baby Jane?:.DV;>;.=., 4>F. >74=O:>2 .. :.?.=., AB.28:;. ><0=5FL .. 25&5@5B5;V .%C4>6=V9 ?@>ABV@ C @><0=V . . >C@5=A0  Sons and Lovers Artistic Space in D.H.Lawrens Novel Sons and Lovers:.DV;>;.=., 4>F. "E>@ ..:.DV;>;.=., 4>F. !8=O2AL:0 . . 26'5:0;V= .5@10;V70FVO :>=F5?B0  death 2 0=3;V9AL:8E ?@8A;V2 OE B0 ?@8:07:0E Verbalization of the Concept DEATH in English Phraseology :.DV;>;.=., 4>F. "E>@ ..:. DV;>;. =., 4>F. >60@8FL:0 . .27&C@:0= ."8?8 D@075>;>3V7<V2 C B2>@0E 45B5:B82=>3> 60=@CTypes of phraseologisms in the detective genre:.DV;>;.=., 4>F. >74=O:>2 ..:.DV;>;.=., 4>F.@83>@O= . . 70>G=5 2V44V;5==O !@V728I5 ABC45=B00720 B5<8 C:@0W=AL:>N <>2>N0720 B5<8 0=3;V9AL:>N <>2>N @V728I5 :5@V2=8:0 @V728I5 @5F5=75=B0 1;07:>20 . V=32VAB8G=V 70A>18 AB2>@5==O E@>=>B>?C 2 @><0=V 65@><0 . 65@><0 "Three Men on the Bummel"Linguistic means of creating chronotope in the novel by Jerome K. Jerome "Three Men on the Bummel".:.D.=., 4>F.0;V=N:..:.D.=., 4>F.0=GC:>2AL:0..25;8=A:0O ".!.0B53>@VO G0AC 2 @><0=V 6>=0 @59=0 "Room at the Top"Category of time in the novel by John Braine "Room at the Top":.D.=., 4>F.0;V=N:..:.D.=., 4>F. %0?V=0 ..3>@=O . $>@<0;L=>-7<VAB>2=0 AB@C:BC@0 @0<>G=8E 0170FV2 2 >?>2V40==OE $. !. $VF465@0;L40Formal-Content Structure of Frame paragraphs Structure of Initial Paragraphs in Short Stories by F.S.Fitzgerald:. DV;>;. =., 4>F. >?V: ..4.DV;>;. =., ?@>D. >;5A=VG5=:> ...4>@>B:0 . 0@:5@8 EC4>6=L>3> ?@>AB>@C C =0C:>2>-D0=B0AB8G=8E >?>2V40==OE 5O @5415@V "The Golden Apples of the Sun", 975:0 78<>20 "Found" B0 @BC@0 ;0@:0 "Jupiter V"Markers of artistic space in science fiction short stories by Ray Bradbury "The Golden Apples of the Sun", Isaac Asimov "Found" and Arthur Clarke "Jupiter V":.D.=., 4>F.0;V=N:..:.D.=., 4>F. >60@8FL:0 ..5T=:>20 . !B8;VAB8G=V >A>1;82>ABV 02B>@AL:>W >?>2V4V C @><0=V . %544>=0 The Curious Incident of the Dog in the Night-Time Stylistic Peculiarities of the Author s Narrative in the Novel The Curious Incident of the Dog in the Night-Time by M.Haddon:.DV;>;.=., 4>F. !B@>G5=:> ..:.DV;>;.=., 4>F.@83>@O= . .60=G5=:> ."8?8 >?>2V4V C B2>@0E .. >9;OTypes of Narration in the Works by A.C. Doyle :.DV;>;.=., 4>F. !B@>G5=:> ..:.DV;>;.=., 4>F.@83>@O= . .7>7=8H520 . !B8;VAB8G=> <0@:>20=0 ;5:A8:0 C @><0=V . !BV;  Lightning Stylistically Marked Vocabulary in D.Steel s Lightning:.DV;>;.=., 4>F. "E>@ ..:.DV;>;.=., 4>F. V3C=>20 . . 8@8;T?>20 ."8?>;>3VO <548G=8E B5@<V=V2 Typology of Medical Terms :.D.=., 4>F.0;V=N: ..:.DV;>;.=., 4>F.@83>@O= . .9 810: .  8B<>CB2>@NNG0 DC=:FVO AB8;VAB8G=>3> ?@89><C ?>2B>@C 2 >@83V=0;V B0 ?5@5:;04V >?>2V40==O 6. !5;V=465@0 "A Perfect Day for Banana Fish"Rhythm creating function of the stylistic device of repetition in the original and the translation of the short story by J. Salinger "APerfectDayforBananaFish":.D.=., 4>F.0;V=N:..:.D.=., 4>F. V3C=>20 ..10!0@V>3;> . $C=:FV>=C20==O >:07V>=0;V7<V2 C @V7=>60=@>28E B2>@0E (=0 <0B5@V0;V @><0=C B0 >?>2V40=L 5O @5415@V "Fahrenheit 450", "The Murderer", "A Sound of Thunder", "The Rocket" , B0 :07>: . 5@@>;0 "Alice in Wonderland" B0 $. 0C<0 "The Wizard of Oz")Functioning of the occasional words in the literary texts of different genres (based on the novel and short stories by R. Bradbury "Fahrenheit 450", "The Murderer", "A Sound of Thunder", "The Rocket" , and fairy-tales by L. Carroll "Alice in Wonderland" and F. Baum "The Wizard of Oz"):.D.=., 4>F.0;V=N:..:.D.=., 4>F. 8@8;>20 ..11!5@18= ..!B@C:BC@=>-<>@D>;>3VG=V B0 A5<0=B8G=V E0@0:B5@8AB8:8 5?VB5BV2 C >@83V=0;V B0 ?5@5:;04V @><0=C '. V:5=A0 "OliverTwist"Structural, morphological and semantic characteristics of epithets in the original and translation of the novel by Ch. 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