Main features of the art criticism discourse within the textual actualization of the English linguo-cultural concept “painting” (in the monograph by G. Reynolds. “Turner. World of art.”)

The article is devoted to the description of the art criticism discourse as a complex and multilevel phenomenon. The author aims at studying its structure, constitutive characteristics and main features. The criteria, according to which the author proves that the art criticism discourse is a kind of a more general notion - discourse, are taken from V.I. Karasik`s theory of “constitutive-institutional discourse characteristics”. The synergetic approach has been used to describe the structure of the art criticism discourse that lies in the basis of the three-leveled model discovered by T.V. Efremova. In this model the art criticism discourse is represented as a phenomenon that consists of three levels: microlevel, macrolevel and megalevel. The extracts for the textual analysis are taken from G. Reynolds`s monograph “Turner (World of art)”. As a result four main characteristics of the art criticism discourse are found out. They are a high degree of the emotional colouring of the excerpts under analysis, the presence of special terms that belong to the sphere of art, hypertextuality and the presence of a special conceptosphere.