«Young Scientist» • № 2 (66) • February, 2019 ФІЛОЛОГІЧНІ Науки 425 © Г А.В., П А.О., 2019 DOI: https://doi.org/10.32839/2304-5809/2019-2-66-91 ДК 81`42 Г А.В., П А.О. Н   ЛІНГВОСИЛІСИНІ ОСОБЛИВОСІ ЖАНР ПСИОЛОГІНИЙ РИЛЕР (НА МАЕРІАЛІ РОМАН ПОЛИ ГКІНЗ «ГЛИБОКО ПІД ВОДО») А. С         . Н     ,    П. Г «Г  »    ,     -  : , - , , ,   . О         ,   -     . П  ,   –   ,    ,    .    -     -,  ,      ,   ,  ,    . К :  ,  , , - , ,  , , , , . golovnia Alla, panasovska Anastasia National Aviation University LINguISTIc STYLISTIc pEcuLIArITIES oF pSYchoLogIcAL ThrILLEr (BASED oN pAuLA howKINS’S NovEL “INTo ThE wATEr”) summary. The article is devoted to the study of linguostylistic peculiarities of the psychological thriller, as a product of literature. The article identifes: the place of the psychological thriller in modern literature, the main features of the thriller as a genre of literature, In the process of comparative analyses of the actual material, namely the novel “Into the Water” by Paula Hawkins and its translation into Ukrainian, such linguistic-stylis- tic means as epithets, expressive-colored vocabulary, metonymy, hyperbole, comparison, etc. were identifed. Linguistic features of modern psychological thrillers differ in comparison with those that are implemented in the classical texts of thrillers. So that, the main reason for using the mentioned methods is the need to infu- ence a reader, create the feeling of the maximum diving into the novel's plot. The need of adrenaline, emotion- al stress – is a human factor that is inherent in every reader, who opens a psychological novel. Through the prism of a psychological thriller, the author can convey anything, open his eyes to seemingly simple and known truths. In addition, the article comprises such information, that corresponds to the issues of popularizing the psychological thriller in modern times. Partly the article is aimed at attracting scientists and translators to the problems of reproduction of linguistic stylistic means in new genres, especially in the psychological thriller. The article contains examples that vividly depict the diversity of linguistic-stylistic means used by the authors of thrillers. The usage of linguistic stylistic means in the modern English language is provided. The author of the article draws attention to the methodological aspect of learning of linguistic stylistic means, which assists in their easier memorizing and using in our own language. Keywords: psychological thriller, linguistic stylistic means, translation, genre-and-stylistic peculiarities, psycholingustics, linguistic analysis, hyperbole, metaphor, epithet, metonymy. П  ,    '   .      -        . В    -   ,      -   ,         . С    -      ,    ,  , . І   -    , ’    ,  ’  ,   ’ -             . П        , -     ,  -  ,  . А    . П       , ,    ’   -   (В. К, М. Н, Н. Р, Р. С);    (А. Г, Р. З- , В. К, Л. К, В. К, О. );   (. Н- , В. Р). Н  -          ,       - . О  -       ,     , ’   (Р.Д. Г, Р. Д-). В     ,   . С          