Modern Russian literary language does not look like a monotonous flat plain. Its “landscape” is more complex: there are mountains, hills, and descents into valleys and river floodplains. Speaking not metaphorically, but directly, then the modern Russian literary language is stylistically dismembered. Some words have a high, solemn connotation, others - colloquial. Finally, many words are stylistically transparent, they have no coloring: I, you, he, be, go, think, read, work, mother, father, house, life, man, flowers, tree, face, ash, joy, thought , courage, big, blue, good, etc.
Not only words, but also syntactic constructions are stylistically differentiated. Examples: I forgot that I need to send a letter (neutral). - And I forgot that I need to send a letter (colloquial); This is inevitable, because this is the dictate of history (high). - This cannot be avoided, because history demands it (neutral). In the latter case, the conjunctions for - because - are a syntactic device that helps create stylistic contrast. The vast majority of grammatical constructions belong to the neutral style.
“...Lomonosov’s “theory of three calms,” wrote A. A. Reformatsky, “contains a very important theoretical grain: speech styles are relative, and any style is primarily correlated with neutral, zero; other styles diverge from this neutral in opposite sides: some with a “coefficient” plus as “high”, others with a “coefficient” minus as
“low” (cf. neutral eat, high eat and low eat, etc.).
Every distinction in language has a meaning, it means something. What is the meaning of stylistic distinctions? This meaning is complex. Firstly, with the help of stylistic distinctions the speaker’s attitude towards his speech is conveyed. Perhaps this speech has universal significance (it is addressed to the people), epochal (to history) and even “universal” significance. But speech can also be unpretentious; the speaker intends it for a few people, and only for them is it interesting, only now and here.
The author of the article distributes its reprints to several of his fellow workers and says: I came to you to present my work... Both the speaker himself and his listeners realized that the speech did not correspond to the circumstances; in these conditions, more modest, more unpretentious words: one should not speak so solemnly and loftily about a simple matter. A neutral style would be appropriate: I want to give you my article... Or even a slightly reduced, conversational style: Here I wrote, whether it’s good or bad, I don’t know, read it and tell me.
Consequently, stylistic distinctions express the speaker’s attitude towards speech: he evaluates it as having great, even universal significance, or as speech of more “limited use”, for a relatively limited circle of people, not claiming to be epoch-making.
But something else follows from this distinction. The national speech is heard on days of celebrations, holidays, and on days of general rejoicing. Therefore, linguistic units belonging to the high style have, secondly, a connotation of festivity and solemnity. They reflect the very situation in which they are used. In the above example (to give...) the awkwardness lies in the fact that the speaker is sure in advance that he brought a holiday for everyone by giving the book. However, this is already the second, derivative meaning of high style. The main thing is the first. This is proven by the fact that there are words
high style (and there are even a lot of them), which are devoid of the spirit of festivity and solemnity. For example, the high union for itself does not carry any festivity.
High style appropriate in days of sorrow; at the same time, it retains its solemnity, but, of course, not festivity.
Conversational speech is everyday speech. This doesn’t make her bad: everyday life has its own charm. In the example given above (to hand...), the conversational style turned out to be good and quite appropriate, and the high style turned out to be bad and pretentious. Consequently, the colloquial style has (as a second, derivative) the meaning of everyday, non-festive speech.
Finally, thirdly, the object of naming itself can be colored differently in different styles. In the series of words: eyes (high) - eyes (neutral) - gazers (colloquial or simple) - the objects themselves seem different. The word eyes evokes different ideas about the named object than the word peepers. Eyes more beautiful than peepers. On the other hand, the eyes are not just an “organ of vision”, but a “mirror of the soul”; the mouth is not an “organ of eating”, but a “source of wise speeches.” And the example given (to give...) can be understood as follows: the remark was unsuccessful because it gave the action a higher rating than it deserved.
However, this feature is secondary, i.e. it does not cover all stylistically colored words. Yes, indeed, most lofty words denote objects that are assessed positively (Fatherland, very boldly), but there are also such lofty words, the object of which is either not assessed at all or is assessed negatively (tyrant, despicable, fiend of evil).
Therefore, the main significance of stylistic differences must be seen in the fact that speech itself can be assessed as important, essential for everyone (or many) or, conversely, as having only limited significance: here, now, for those present. These metonymic differences are also transferred to the object of speech, to what is called; The objects themselves, denoted by means of high and colloquial style, may be presented differently. And, as already said, in high style
the solemnity characteristic of a setting in which high-style speech is appropriate can be captured; not solemnity, everyday life (not in a derogatory sense) is captured in a conversational style. These are the meanings conveyed through stylistic distinctions.
Neutral language units characterized by the fact that they are appropriate in any speech. They do not have those colors, those stylistic meanings that are characteristic of high and colloquial styles. No text (written, oral) can be created using colored units alone. In any text, most words and syntactic structures are of a neutral style. Colored units are introduced into the environment of neutral units, and then we perceive the entire text as high or colloquial in style. A glass of tea is water slightly colored with tea, but it is not a “glass of water,” but rather a “glass of tea.” So is the tall (or colloquial) text: most of its units are uncolored, neutral; a few high (or in another case - colloquial) words give color. Let us remember: with the help of stylistic gradation, high - neutral - conversational style, the speech itself is assessed; this is the basis of stylistic distinctions.
common manner, the usual way of performing any specific type of speech acts: oratory, editorial in a newspaper, scientific (not highly specialized) lecture, judicial speech, everyday dialogue, friendly letter, etc.; style in this sense is characterized not only by a set (parameters) of linguistic means, but also by the composition of the act;
individual manner, the way in which a given speech act or work is performed, including literary and artistic work (cf., for example, “the style of your speech at a meeting”; “the language and style of Lermontov’s early poems”);
same as language paradigm of the era, the state of the language in terms of style in a given era (cf. the expression “in the style of the Russian literary language of the 1st half of the 19th century”).
Despite the differences in the above five understandings of style, each of them has a basic common invariant feature; style is always characterized principle of selection and combination available linguistic means, their transformations; differences in style are determined by differences in these principles. Each style is characterized by certain differential features, differences from another, comparable to it, i.e. deviations. This characteristic reaches its maximum in individual style, which is “a measure of deviation from the neutral norm.” In addition, “from the inside,” the style is characterized by some constant components, “integral features,” which also reach a maximum in the individual style, leading to its definition as “the highest measure of proportionality and conformity.” The concept of selection, in turn, presupposes the idea of what is correct, with what deviations should be compared - the concept of a norm (see Linguistic norm). The concept of combination presupposes the concept of proportionality and harmony. Thus, style is not only a historical category, but also a subjective-objective one, since both the objective material elements of style and the subjective principles of their selection and combination change in history. There are cases when the national language (for example, Estonian) does not have clear boundaries between styles.
In the history of styles from the point of view of the material composition of the elements the three main styles of the language have 3 different historical sources. In modern European languages, the book style usually goes back to the literary and written language of the previous period, often different from the everyday spoken language of the bulk of the population. Thus, the book style in the countries of Romanesque speech - France, Italy, Spain, etc. - goes back to Latin as the literary language of the Middle Ages in terms of vocabulary and partly syntax; The English language in its book style in this respect also goes back to the Latin and partly French languages of the Middle Ages. The book style in all Slavic languages largely goes back to the Old Church Slavonic (Church Slavonic) language - the literary language of the Middle Ages. At the same time, in the Romance and Slavic languages, a literary language on a national basis played a certain role, for example, the language of the heroic epic in France and Spain, the language of chronicles and other written documents in Kievan Rus; At the same time, the question of the relationship between the two languages in Kievan Rus and other Russian states of the Middle Ages remains debatable.
The neutral colloquial style goes back to the national language, especially to the language of the urban part of the population. The familiar vernacular style has its source in the language of the urban lower classes and peasant dialects, as well as the languages of professional groups, jargons - artisans, soldiers, students, etc.
The system of styles is affected by their literary processing and codification. Thus, the normalization of the French literary language in the 17th century, during the era of literary classicism, contributed to the strict codification of written speech and its difference from spoken language according to the principle “they never write as they speak”; therefore, the neutral style of the French language was consolidated in its proximity to book and written speech. The norm of the Russian literary language took shape in the late 18th - early 19th centuries, during the era of Pushkin, the era of the formation of literary realism, due to which democratic elements of the language were much more widely accepted into the book style, and the neutral style turned out to be closer to colloquial speech.
The prototype of three language styles already existed in the Latin language of Ancient Rome: 1) urbanitas - the speech of the city of Rome itself (Urbs), considered a model; 2) rusticitas (from rusticus - rustic, rural) - speech of rural areas, not entirely correct, “uncouth”; 3) peregrinitas (from peregrinus - foreign), perceived by the Romans as the incorrect Latin speech of remote Roman provinces, from which the Romance languages subsequently developed.
The three styles also had another source, also three-part: the three main genres of literature of that time - “low”, “medium” and “high”. In Rome, they were usually associated with three different genre cycles of Virgil's works - "Bucolics" (lit. - shepherd poems), "Georgics" (lit. - agricultural poems), "Aeneid" - a heroic epic poem. According to the three genres, not only words, but also the objects they denote, as well as proper names, had to be different. In the late Roman era they were illustrated as follows:
This stylistic difference has a more ancient analogue - the difference between the languages of epic and tragedy (“high”), lyric (“middle”), comedy (“low”) in Ancient Greece, which, in turn, apparently goes back to more ancient differences between sacred, including poetic, language and the language of everyday communication. The “Theory of Three Styles” was especially relevant in Europe during the era of literary classicism of the 17th and 18th centuries. In Russia it was developed by M.V. Lomonosov (see Language of fiction).
In the history of style from the point of view of selection principles The most ancient principle of differences in styles turns out to be social prestige, which directly corresponds to the concepts-evaluations “high”, “average”, “low” of words and objects that are designated by words. To speak in a high style meant to speak in a high style and about high subjects; at the same time, the high style of speech indicated the high social position of the speaker. The practice of linguistic speech assessments, adopted in Ancient Rome, has been maintained until modern times. So, according to the definition of a 17th century grammarian. C. de Vogelat (France), “good use of language”, or “good custom”, is “the manner of speaking of the most sound part of the royal court, in accordance with the manner of writing of the most sound part of the writers of a given time.” “Good custom” in modern terminology corresponds to a neutral and bookish style, or a linguistic norm in the strictest sense of the word. Vozhle's definition also contains another important feature - the “conformity” of speech, its correspondence to the social status of the speaker. Thus, the “low” speech of the peasant does not correspond to “good custom”, but corresponds to “conformity”.
In the 19th century Wherever there has been a general democratization of public life, the concept of norm is expanded, and the “low” style, the natural speech of the democratic strata of the population, is included in the norm in a broad sense, in the system of literary language styles. Dialectal speech and slang remain outside the norm. However, the sign of social prestige remains; to a certain extent, this makes itself felt even in the definition of the norm in Soviet scientific literature of the 30-40s, cf.: “The norm is determined by the degree of use, provided authority sources" (E. S. Istrina). In the linguistic literature of the 80s. in developed countries, in accordance with the developing structure of society, the sign of “high” or “low” social assessment is gradually excluded from the concept of language norms and, accordingly, from the assessment of styles; Wed in relation to the modern Russian language, where the norm is the rules of speech “accepted in social speech practice educated people" (however, this feature is preserved for modern French).
In parallel to this, there is a separation of such features of style as the word and its subject correlation; the last feature is excluded from the definition of style: in modern literary languages, in any style of language one can talk about the same reality, the same objects. This is facilitated by developed synonymic series (see Synonymy), formed from various sources (for example, in the Russian language, Old Slavonicisms and native Russian vocabulary: “battle” - “battle”, “battle” - “skirmish”, “lik” - “face” - “face”, “throw” - “throw” - “throw”, “throw”, etc.).
The concept of style as an individual manner of speech or writing was formalized in the 18th century. and reaches its peak in the era of literary romanticism in connection with the development of the concept of an individual “genius” - a human creator, writer, artist. In 1753, J. L. L. Buffon formulated the following definition of style: “Knowledge, facts and discoveries are easily alienated and transformed... these things are outside of man. Style is the person himself. Style can neither be alienated, nor transformed, nor transmitted.” This definition, reflecting one of the objective aspects of the phenomenon of “style,” plays a large role in literary stylistics. In French linguistics, the tasks of stylistics as a whole are determined on its basis.
In the 19th century, in connection with the understanding of the diverse speech functions of a person (everyday speech, public speaking, speech in court, etc.), an understanding of style as a variable value, as language adaptation person to the social environment (A.I. Sobolevsky, 1909). This understanding corresponds to a certain extent to the understanding of style as a generally accepted manner of performing speech acts. Style in this understanding is most fully studied in the theory of speech acts as one of the conditions for their success (see Pragmatics).
In the 50-70s. In the 20th century, in connection with the development of the history of science, the history of human knowledge, the concept of style, common to science, art and language, was formulated as “a style of thinking, worldview.” In this meaning, different terms are used: “epoch” (M. P. Foucault), “writing” (in relation to fiction, R. Barth), “paradigm” (in relation to science and scientific style, T. Kuhn). But the most general and successful term here remains “style”, in accordance with the definition of M. Born (1953): “... there are... general tendencies of thought that change very slowly and form certain philosophical periods with their characteristic ideas in all areas of human activity, including science... Styles of thinking are styles not only in art, but also in science.”
- Sobolevsky A.I., About style, Kharkov, 1909;
- Istrina E. S., Norms of the Russian literary language and the culture of speech, M.-L., 1948;
- Distiller G. O., On the tasks of the history of language, in his book: Selected works on the Russian language, M., 1959;
- Conrad N.I., On the literary language in China and Japan, in: Issues of the formation and development of national languages, M., 1960;
- Gelgardt R.R., On the language norm, in the book: Issues of speech culture, v. 3, M., 1961;
- Long-lasting L., Gausenblas K., On the relationship between poetics and stylistics, in the book: Poetics. Poetyka. Poetics, ;
- Born M., The state of ideas in physics, in his book: Physics in the life of my generation, [trans. from English], M., 1963;
- Vinogradov V.V., Problems of literary languages and patterns of their formation and development, M., 1967;
- his, Essays on the history of the Russian literary language of the 17th-19th centuries, 3rd ed., M., 1982;
- Budagov R. A., Literary languages and linguistic styles, M., 1967;
- Language and society, M., 1968;
- Kozhina M.N., On the foundations of functional stylistics, Perm, 1968;
- Yartseva V.N., Development of the national literary English language, M., 1969;
- Semenyuk N.N., From the history of functional-stylistic differentiation of the German literary language. M., 1972;
- Russian colloquial speech, M., 1973;
- Shcherba L.V., On different pronunciation styles and the ideal phonetic composition of words, in his book: Language system and speech activity, Leningrad, 1974;
- Belchikov Yu. A., Russian literary language in the 2nd half of the 19th century, M., 1974;
- Zhirmunsky V. M., The problem of social differentiation of languages, in his book: General and German linguistics, L., 1976;
- McDavid R.I. (Jr.). Dialect and social differences in urban society, trans. from English, in the book: New in linguistics, in. 7 - Sociolinguistics, M., 1975;
- Foucault M., Words and things. Archeology of the Humanities, trans. from French. M., 1977;
- New in foreign linguistics, in. 8 - Text linguistics, M., 1978; V. 9 - Linguistics, M., 1980;
- Distiller T. G., Patterns of stylistic use of linguistic units, M., 1980;
- Melnichuk A. S., Discussion of the problem of the linguistic situation in Kievan Rus at the IX International Congress of Slavists, Izvestia of the USSR Academy of Sciences, ser. LiYa, 1984, vol. 43, no. 2;
- Buffon G. L. L., Discours sur le style, P., ;
- Cressot M., Le style et ses techniques, P., 1947;
- Guiraud P., La stylistique, 8 ed., P., 1975.
To vocabulary writing These include words that are used primarily in written varieties of the literary language: in scientific articles, textbooks, in official documents, in business papers, and are not used in casual conversations or in everyday speech.
The language of fiction (prose, poetry, drama) does not belong to specifically written varieties of speech (as well as to specifically oral types of speech).
The vocabulary of fiction, based on neutral words, can include words of both oral and written speech (as well as, along with them, all varieties of popular vocabulary: dialectisms, professionalisms, jargons).
There are two types of written vocabulary:
1) Book vocabulary;
2) High vocabulary (poetic, solemn).
A functional-style stratification of book vocabulary is noted:
1) Official business;
2) Scientific;
3) Newspaper and journalistic.
Official business vocabulary is used in government documents of the following types:
1) Laws;
2) Regulations;
3) Charters;
4) Instructions;
5) Office and administrative papers;
6) Business letters;
7) Agreements;
8) Legal business documents;
9) International agreements;
10) Communiqué;
11) Diplomatic notes, etc. This vocabulary is characterized by:
a) isolation (there are no inclusions of other styles);
b) semantic clarity;
c) maximum unambiguity;
d) the presence of clichés, stereotypes, cliches. Main lexical groups of business style:
1) Names of business papers: application, instruction, explanatory, report, note, certificate, petition;
2) Names of documents: diploma, passport, certificate, charter;
3) Business and production-technical terminology: cargo turnover, carrying capacity, supply, recyclable materials, medical personnel, overalls, financial department;
4) Nomenclature names (names of various institutions, officials and their posts): general directorate, ministry, engineer, inspector. In modern business style, abbreviations are widely used: KB - design bureau; UKS - capital construction management, etc.
For scientific vocabulary foreign style inclusions are also not typical. In the scientific style, words with abstract semantics are used. In the lexical system of the scientific style, first of all, general scientific vocabulary can be distinguished: abstraction, argumentation, research, classification, method, methodology, object, systematization, etc.
Features of the vocabulary of the scientific style include the mandatory presence of terms. Term is a word or phrase used to most accurately name special concepts in the field of production, science, and art.
The set of terms of a certain field or branch of knowledge forms a terminological system (terminology) called metalanguage of this science.
Each science necessarily has its own terminology (metalanguage). An example of a developed terminological sphere (developed meta-language) is linguistics: Morpheme, sentence, prefix, phrase, suffix, inflection, etc.
Main function newspaper and journalistic style is a function of influence, because the main feature of journalism is political emphasis, citizenship, and polemical intensity.
Newspaper and journalistic vocabulary is most common in newspaper and magazine reviews, in socio-political and literary-critical articles, in pamphlets, feuilletons, essays, proclamations and so on, for example: humanism, unity, neutrality, autonomy, patriotism, propaganda, event, progressive, etc.
Unlike book vocabulary, which accurately names abstract concepts, but is somewhat dry (that is, minimally emotional), vocabulary high characterized by elation, often solemnity and poetry. Words of high vocabulary belong to four parts of speech:
1) Nouns: Daring, chosen one, homeland, accomplishment, creator;
2) Adjectives: Sovereign, daring, radiant, irreversible;
3) Adverbs: Forever, from now on;
4) Verbs: To erect, to erect, to delineate, to accomplish.
High vocabulary gives speech a solemn, upbeat or poetic sound. It is used in cases when we are talking about significant events in the life of the country and people, when the author’s feelings are high and festive.
L. Leonov justified the need to use lofty words: “Just as it is shameful to speak about Pushkin, according to Belinsky, in humble prose, the name of Tolstoy today requires a festive verbal frame.”
For example, remembering his first meeting with L.N. Tolstoy, V.A. Gilyarovsky wrote: “This meeting with the great Lev Nikolaevich is unforgettable, this is the best minute of my life.” In this passage, the word unforgettable sounds more sublime than unforgettable.
Vocabulary of fiction (poetry, prose, drama), which may include:
1) Neutral words;
2) Words of oral and written speech;
3) Non-popular vocabulary.
ELECTIVE COURSE
VOCABULARY OF HIGH STYLE – THE PATH TO THE REVIVAL OF RUSSIAN SPIRITUALITY.
Explanatory note
The 20th century “wolfhound” (O. Mandelstam) deprived the Russian people of words of high style. Old Church Slavonic vocabulary, which brought the Gospel, the Word of God, to Rus', was burned out with “fire and sword” throughout the 70 years of Soviet power. Militant atheism has overthrown a huge layer of words with the help of which Russian people “talked to God.”
The disappearance of high-style words led to a general decline and degradation of linguistic culture. The vocabulary of “middle calm”, with its official nature, began to claim the role of words of high style, “low calm” turned into middle, obscene language took its lacuna in the lower layers of “street language”. The decline in styles directly influenced the coarsening of morals and the intellectual degradation of society: after all, “life comes from the word” - thought is directed by the word (A. Potebnya). It was the lofty vocabulary that contained symbolic, mysterious meanings; in them the soul and spirit of the people rested and were hidden. Such comprehensive words as love, goodness, kindness, truth, faith, etc. contained the main and not always pronounced moral meanings, were filled with spiritual energy, and developed over the centuries.
Literary language is basically written. On Russian soil, it is primarily a spiritual language; it is based on a layer of high-style words. It is they who express the worldview, the mentality of the Russian people, which in the process of cognition combines the intellectual, spiritual and volitional qualities of the national character in its typical manifestations (V. Kolesov).
Now we are paying more and more attention to bygone words, we understand that their revival is the revival of the lost memory of the undistorted, true spirituality of the Russian people.
The materials of the elective course are selected so that they can be used at meetings of the School Scientific Society.
36 hours
Hours distribution
Topic name | |||||||||||||||
The theory of the “three calms”. | |||||||||||||||
Processes of “declining” styles in the twentieth century. Their causes and consequences. | |||||||||||||||
Spiritual and religious vocabulary. Old Slavonic language. Old Slavonicisms. | |||||||||||||||
The Bible and the Gospel are sources of spiritual knowledge. | |||||||||||||||
Biblical words and their use in modern speech. | |||||||||||||||
Vocabulary of high style in Russian lyrics. Analysis of program lyrics. | |||||||||||||||
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In the preface to the first edition of his works, published in 1757 (“Discourse on the benefits of church books in the Russian language”), he distinguishes three types of “sayings” in the vocabulary of the Russian language. “To the first are those which are commonly used among the ancient Slavs and now among Russians, for example, god, glory, hand, now I honor.” Thus, we are talking about words common to Russian and Church Slavonic languages. “The second belongs to those, which, although they are used little in general, and especially in conversations, are intelligible to all literate people, for example: I open, Lord, planted, I cry,” that is, we are talking about the words of the Church Slavonic language. The third category includes words of the Russian language (Russianisms), which are not “in the remains of the Slovenian language, that is, in church books, for example: I say, a stream, which, for now, is only.” The combination of words from these groups forms different styles: high, mediocre and low. High style includes words of the first and second groups, it consists “of Slavonic Russian sayings, that is, used in both dialects, and of Slavonic sayings that are intelligible to Russians and not very dilapidated.” Average (mediocre) style is made up of words of the first and third groups: “from sayings that are more common in the Russian language, where you can take some Slavic sayings, used in high calm, but with great care so that the syllable does not seem inflated. You can also use low words in it, However, be careful not to fall into meanness." “Sneaky” was considered expressive colloquial vocabulary, which was widely used in the comedies of the 18th century. Low style is made up of words of the third group, that is, such words “that are not in the Slavic dialect.” They can be mixed with words characteristic of the middle style, “and from Slavic ones that are not commonly used, one can completely avoid them due to the decency of matters.” In a low style, common words may be used, but at the discretion of the writer. Literary genres were assigned to each style. It was proposed to write heroic poems, odes, and prose speeches about important matters in a high style. Theatrical works, poetic friendly letters, satires, and elegies were written in the middle syllable. Within the framework of the low style, comedies, epigrams, songs, friendly letters, and “descriptions of ordinary affairs” were to be created. The lesson uses elements of the conference form. It is preparatory to the final conference. LESSON 3. Processes of “declining” styles in the twentieth century. Their causes and consequences. Reports. Continuation of the previous lesson. Analysis of stories by M. Zoshchenko. We observe the speech around us. What and how do people talk? How does the disappearance of high-style words affect the decline in the spirituality of a nation? LESSON 4. Spiritual and religious vocabulary. Old Slavonic language. Old Slavonicisms. Textbook. Signs of Old Church Slavonicisms (phonetic, word-formation, morphological, semantic, syntactic). Selection of material from dictionaries and its discussion. Tasks 228 (we compare other roots using the model), 229, 230, 231. Working with dictionaries. Choose words with roots of Old Church Slavonic origin LESSON 5. The Bible and the Gospel are sources of spiritual knowledge. Reports using expressions from the Bible and the Gospel. Textbook. Tasks 237, 238, 240. Selection and analysis of S. Yesenin’s poems, including religious vocabulary (early lyrics). LESSON 6. Biblical words and their use in modern speech. Selection of biblical words from the dictionary. Using them in speech. Phraseologisms of ancient origin. Augean stables, Achilles' heel, Ariadne's thread, the sword of Damocles, the labor of Hercules, the Gordian knot, the gifts of the Danaans, two-faced Janus, between Scylla and Charybdis, the palm, sing praises, raise to the shield, the labor of Sisyphus, Tantalus' torments, the apple of discord, Pandora's box . Students complete the list using dictionaries. Pitch hell, alpha and omega, angel in the flesh, balm for wounds, cherish as the apple of your eye, beat yourself in the chest, prodigal son, God gave, God took, throw words to the wind, be a laughing stock, Babylonian pandemonium, power of darkness, into the fire and into the water, a time to scatter stones and a time to gather stones, the all-seeing eye, the global flood, every creature in pairs, the voice of one crying in the wilderness, the gift of God, let there be light, antediluvian times, the tree of life, wait by the sea for weather, the lost sheep, know like "Our Father", on the topic of the day, the forbidden fruit, the promised land, the tempting serpent, pour out the soul, drink the cup to the dregs, an idol, leave no stone unturned, like a thief in the night, the way of the cross, a book with seven seals, a goat absolution, the root of evil, a lie for salvation, getting into trouble, it is better to give than to take, the place of execution, manna from heaven, the torments of hell, many are called, but few are chosen, nowhere to lay your head, not of this world, carry your cross regardless on the face, unclean spirit, eye for an eye, tooth for a tooth, break off horns, shake off the dust from your feet, flesh from flesh, raise your hand, sprinkle ashes on your head, a byword, servant of God, destroy to the ground, Sodom and Gomorrah, vanity vanities, servant of two masters, salt of the earth, grind into powder, thorny path, pitch darkness, vexation of spirit, treasure as the apple of the eye, our daily bread, the number of the beast, etc. Winged expressions, proverbs of biblical origin. In the beginning was the word, and the Word was with God, and the word was God! – a reminder of responsibility for spoken words. Everything secret someday becomes clear. Health is more valuable than wealth. We need to pray for a healthy mind in a healthy body. And there was evening and there was morning. A spark will ignite a flame. He who has ears to hear, let him hear. As is the pop, so is the arrival. He who sows the wind will reap the whirlwind. Who does not work shall not eat. (Apostle Paul) Clever blasphemy is better than bad praise. They don't know what they're doing. There is no prophet in his own country. Do not make yourself an idol. Man does not live by bread alone. Don't swear on your head. Do not throw pearls before swine - it is in vain to talk about anything or prove something to someone who is not able or does not want to understand it. Don't expect a good breed from a bad seed Judge first and judge later. Treat people the way you want them to treat you. Keep your tongue in conversation and your heart in anger. The filthy will not stick to the clean. The word heals, the word also cripples. Knock and it will be opened to you. The son is not responsible for his father. The truth speaks through the mouth of a baby. What goes around comes around. Murder will out. - “There is nothing hidden that will not be revealed.” My tongue is my enemy: it prowls before the mind, looking for trouble. My tongue stuck to my throat. - “My strength has dried up like a potsherd, my tongue has clung to my throat.” LESSON 7. Vocabulary of high style in Russian lyrics. Program lyrics (“Liberty”, “To Chaadaev”, “Prisoner”, “Arion”, “To the Sea”, etc.); Analysis of poems chosen by the teacher. I'm sitting behind bars in a damp dungeon. A young eagle raised in captivity, My sad comrade, flapping his wing, Bloody food is pecked outside the window, He pecks and throws and looks out the window, It’s as if he had the same idea with me. He calls me with his gaze and his cry And he wants to say: “Let’s fly away!” We are free birds; it's time, brother, it's time! There, where the mountain turns white behind the clouds, To where the sea edges turn blue, Where only the wind walks... yes I!.. (1822) Yev writes about the connection between will and Russian open spaces in the book “Notes on the Russian”: “The wide space has always owned the Russian heart. It resulted in concepts and ideas that do not exist in other languages. How, for example, does will differ from freedom? Because free will is freedom combined with space, an unenclosed space.” The predominant part of the words derived from the word will, indicated in the dictionary, have a negative connotation in the Russian language: free spirit, arbitrariness, self-will, etc. in the minds of ancient Russian scribes, self-will, “self-thinking” as a manifestation of the will appears in close kinship with pride - the devilish temptation, destructive desire - temptation. As G. Lesskis notes, “in Russia, in the Russian consciousness, freedom was most often understood as will, as a simple “absence ... of degrees and restrictions in the life of any class or the whole society” (Dictionary of the modern Russian language. - M.-L. , 1962. – T. 13). The Russian thinker G. Fedotov interestingly reflects on the difference between freedom and will in his article “Russia and Freedom” (1945): “Well, what about the “will” that the people dream and sing about, to which every Russian heart responds? (...) The will triumphs either in leaving society, in the expanse of the steppe, or in power over society, in violence against people. Personal freedom is unthinkable without respect for the freedom of others; will is always for oneself... Since will, like anarchy, is impossible in a cultural community, the Russian ideal of will finds expression in the culture of the desert, wild nature, nomadic life, gypsies, wine, revelry, selfless passion - robbery, rebellion and tyranny " What does blood food mean? Having freed himself from external slavery, a person may find himself captive of internal slavery - the low and dangerous instinct of power, the desire for power over people, nature, and the world. With the image of “blood food,” the poet reminds that man is not only a natural, but also a spiritual being, having the highest responsibilities to himself, people and God. “The Prisoner” shows the first stage of the poet’s transformation. The poet-prisoner, the poet-eagle sees how “the mountain turns white behind a cloud,” “the edges of the sea turn blue,” but he does not yet hear either “the flight of the angels from above,” or “the underwater passage of the sea reptile.” In “The Prisoner” there is a visible, beautiful sensory world, but there is not yet a higher spiritual world; there is a spiritual thirst for freedom, but there is still no “spiritual thirst.” Easily, magically, Pushkin creates a masterly vortex composition not of materialized action, but of a real cycle of emotions, the internal experiences of the lyrical hero. Such a whirlwind, created by the semantic and melodic flow of one stanza into another, is seen in the poem “The Prisoner” (1822). Three stanzas merge into a single soliton - a melodic vortex wave, limited on both sides. Three sentences of the poem do not coincide with stanza boundaries. The first sentence—the first line of the first stanza—states the exposition of the poem, and is therefore spoken in a falling tone toward the end. By the way, in the practice of expressive reading of this poem, the second line is intonationally “drawn” into the first, thus the “sad comrade”, who is inside the dungeon, seems to be separated from the “young eagle”, who seems to be outside. How many lyrical heroes are there in the poem? One or two? It is generally believed to be two. Is it so? After all, this is an example of a romantic poem, which cannot accurately reflect the real world; it reflects the world from the author’s point of view through the image of the lyrical hero. Using this poem as an example, we can clearly explain to sixth graders what romanticism is. It is enough to ask two or three questions: where is the prison? what crime did the hero commit? How many years was he sentenced to? etc. Already the second question makes me smile, since the external plot outline of the poem has nothing in common with the real world of events - it is an unmanifested world, the world of the feelings and thoughts of the lyrical hero. This is an artistic expression of the tragic discrepancy between reality and the inner content of the soul. Secondly, it is worth seeing whether there are similar images in Pushkin’s poetic context. For example, we read in the poem “The Poet” (1827): ...And among the insignificant children of the world Perhaps he is the most insignificant of all. But only the Divine verb It will touch sensitive ears, The poet's soul will stir, Like an awakened eagle . We find the image of an eagle in the poem “The Prophet” and other poems. Both the prisoner and the eagle are two hypostases of the single soul of the lyrical hero. How does rebirth occur, the reincarnation of a prisoner into an eagle? We observe this process in the poem. The frame of the text - a living vortex wave - is limited by two antonym words: I'm sitting - we're walking, creating a hidden antithesis of the poem. Between them there is a melodic intonation spiral upward movement. The peak of rising intonation is the last words …Yes I!– spreading in unearthly spaces. How is this boundless intonation ascent structured? The melodic antithesis is already contained between the first and second lines: the first line is pronounced with a lower tone. She supports a hidden antithesis: outwardly I am a prisoner, but in reality I am not here - I am there, behind the walls of the prison, I am dissolved in the beauty, harmony of the world... Who knows, maybe the famous discovery of Pierre Bezukhov that it is impossible to keep his immortal soul, no walls or guns, inspired by this poem. The second line of the first stanza sets the impulse for a rise in tone - the intonation movement begins with a common and complicated composition of the subject - the topic of the sentence: A young eagle raised in captivity, My sad friend... The composition of the predicate - rheme - begins at the end of the third line and is recognized as a transfer, emphasizing the composition of the predicate: ...My sad comrade, flapping its wing, Bloody food is pecked outside the window, The intonation of a rising tone gains flight height, since the second stanza ends with a comma, it continues a series of homogeneous predicates, the first of which was specified in the previous stanza - pecks. The melodic upward movement is determined by the repetition of the verb pecks, repeated conjunctions And. Verbs are condensed, but they do not carry active semes ( throws, that is doesn't bite) – what is happening has nothing to do with the real world. So the first stanza flows melodically and syntactically into the second, merging with it. The second stanza is divided into two parts by a period, so the comparative clause is very significant: As if he had the same idea with me– here there is a merging of the soul of a person in the real world and an eagle-poet, not subject to earthly laws. The reader must highlight this line by lowering the tone and pausing, following objective syntactic laws. And the homogeneous predicates of the previous sentence flow into the next incomplete sentence, setting the lost point of melodic height: calling, wants to speak(there is again no action in its material expression). The subject is hidden, since this is where the merging of the real and creative principles occurs. In the fourth line of the second stanza, the direct speech of the eagle begins, it is updated again by transference, therefore it creates even more tension in the emotional rhythm of the poem, its whirlwind melody. So the second stanza flows melodically into the third. The third stanza - the call of the eagle - is pronounced at the maximum pitch. The melody of upward movement in it is set by verbless constructions: repetition of the name of the state it's time, the ascent into the infinity of the sky is anaphorically “twisted” by the repetition of circumstances, there - there - there, similar locative subordinate clauses. This sets the boundlessness of rising upward, tearing away from the earth forever, transcendental soaring above the earth and leaving it, hateful... The only verb of active action in the third stanza is we're walking– two hypostases of the soul merged into one. The remaining two verbs ( turns white, turns blue) denote the symbolic color of God's harmonious world. Only the wind is able to accompany the lyrical hero in his creative impulse. We're walking- also a national mental image, characteristic of Russians, one of the most striking folklore images (see Eva’s discussions about Russian freedom as going beyond the bounds of everyday life into the vast expanses of the Russian land). Word will etymologically has a common root with the verb order. In the poem, these folklore frameworks expand, accommodating the idea of the non-subjection of the lyrical “I” to earthly laws, of the boundlessness of the perception of the world, of dissolution in its infinity. The last words of the poem should be pronounced at the highest point of the melodic vortex. Antithesis " dungeon damp», « gloomy desert"earthly everyday life - and the inner spiritual life of the poet, not subject to the real world, is clearly manifested in many poems. LESSON 8. Archaisms and historicisms are signs of high style. Analysis of poems. The poem “Arion” (1827) is amazing - an oath of allegiance to the altruistic spiritual motives of the “Ivanov-Tsarevichs” of Russian history. The impulse to protest against Russian absolutism was the realization of oneself not as a royal slave, but as a free person. These people could no longer allow themselves to be treated like court lackeys. The young poet was able to express the air of the era: “ Star of captivating happiness...", and then managed to speak about loyalty to these ideals in such a way that he conveyed this spiritual impulse to subsequent generations, who were able to decipher it and be amazed at the spiritual height of their ancestors. The poem “Arion” encodes Pushkin’s attitude to the ideas that came from the West, brought by the victors at the tips of the peaks, and to their guides (let’s not forget the heated discussion with K. Ryleev about the essence of poetic creativity), and the providence of a genius about the future bloody history of Russia. implicated in these ideas, albeit changed, but still alien. The text of the poem demonstrates how its secret meaning is organized, first of all, compositionally, with the help of transference (enjambment) widely used by Pushkin. Arion There were many of us on the boat; Others strained the sail; Others unanimously resisted The oars are powerful in the depths. In silence Leaning on the steering wheel, our helmsman smart The heavy boat sailed in silence; And I am full of careless faith - I sang to the swimmers... Suddenly the bosom of the waves Both the feeder and the swimmer died! – Only me, the mysterious singer, thrown ashore by a thunderstorm, I sing the same hymns And my wet robe I dry myself in the sun under a rock. More than a year has passed since the December Uprising, the acute bitterness of the losses has somewhat dulled, the time has come to give an account to myself: who am I and what am I? what to do next? how to live? What is the meaning of my life now? The poet answers all these questions. Reinterpreting the ancient legend about Arion, he includes him in a friendly team of like-minded people, he charges the poem with the energy of tension. The poem is full of antitheses, all the elements in it are charged oppositely, but exist in dynamic balance. The short poem is an amalgam of antitheses: compositional, semantic, semantic. The first antithesis is implied by the hyphenation in the fourth line. The friendly team in a single impulse, sigh, and rhythmic shouts controls the “overweight” boat. Note: the sea is still calm, but the boat is controlled with great difficulty, at the maximum of its capabilities. These friendly cries are contrasted by the silence of the feeder. The first transfer contrasts the active efforts of the team, expressed in the rhythmic sounds of a single organism, with the silence of the “thinking” feeder. The line about the Feeder is the longest in the poem, it contains nine feet (in other poems - eight) and it ends with a meaningful epithet smart. Despite the supertension, the “mind” of the Helder is powerless to cope not only with the “noisy whirlwind”, it is also insufficient to withstand the elements in its temporary “peaceful” state. The boat, heavy, clumsy (let’s note this oxymoron), unsuited to sailing in the stormy waters of Russian life, is doomed to destruction from the very beginning. Here the author’s assessment of the essence of the Decembrist movement is clearly expressed: with the help of pure racio, Russian life cannot be turned upside down. This element obeys only the mysterious, irrational, inaccessible to the cold analytical mind. Thus, the seemingly neutral epithet “smart” acquires a connotative negative evaluative meaning, and not a direct one, but some kind of “visceral” prophetic meaning. From our bitter experience of almost two centuries, we have become convinced that rational ideas for the reconstruction of the Russian world, always coming from the West, do not bear good fruit on our soil, no matter how many enormous sacrifices are made for the sake of the great seductive, “theoretically based” goal. The poet confronts the rowers and the helmsman. This probably expresses the main antithesis of the poem and its own answer to the question: why wasn’t I with them? And I am full of careless faith, - I sang to the swimmers... Faith in what? Of course, in the Divine destiny, which he does not even think of changing, he lives in the awareness of the Divine destiny, hence the joy of a harmonious perception of the world. A terrible, tense confrontation with the elements is possible only when the team recognizes itself as a single organism. Everyone is busy with important work, and so is the Singer: he carries the Word about friends (but hardly like-minded people) - Eternity and is mysteriously saved for this very reason. Compositionally, the poem includes two parts, opposed to one another. This is an external antithesis, the boundary between the compositional parts is expressed by the most intonationally vivid transference: ... I sang to the swimmers ... Suddenly the bosom of the waves A noisy whirlwind crushed on the fly... The singer is clearly aware of his mysterious mission, emphasizing it with an open antithesis in the second part, in the semantic center: Both the feeder and the swimmer died! – Only me, the mysterious singer, thrown ashore by a thunderstorm... The poem begins and ends with a picture of a harmonious world, that is, arranged according to God’s providence, but this world can explode at one moment, it is initially hostile to spiritual man and Always conceals within itself a mortal threat to the alien, noble and sacrificial in its altruistic aspirations. A change of rhythm in the semantic center of the poem allows one to penetrate into its innermost depth. The first part includes two semantic centers: the team is a smart feeder. “The smart feeder” stands out from a team of like-minded people; he is a leader who takes full responsibility for the future upon himself, and the team is aware of this. The second semantic center is structured by the appearance of a lyrical hero, whose mental state differs sharply from the emotional mood of the irreconcilable, one-pointed fighters and fighters - both the team and the helmsman. The incredible tension experienced by the team culminates in the image of the helmsman - and suddenly: ... And I am full of careless faith - I sang to the swimmers... The terrible tension of the team, led by their feeder, contradicts the naturalness of the happy Singer, who sings joyfully, “full of carefree faith,” like a bird on a branch, without effort or tension. This contradiction is achieved by condensing words: strained, pressed together into the depths of the powerful oars. The joyful naturalness, harmony of the state of the soul, childish openness to both the Singer’s friends and the world counters this collective colossal inhuman effort, when all the muscles, emotional and spiritual strings are stretched to the limit. But the Singer also confronts the formidable sea and is also exposed to mortal danger in his confrontation. Why is it so easy for him? Probably because he feels that he is chosen, realizes that he is a conductor of Divine Providence, guesses his role, purpose in this world and joyfully accepts this purpose. The only truly life-giving source in this world is the “mysterious” force that protects the chosen one, the original destiny. The singer clearly understands why and for what purpose he was “thrown ashore by a wave” and clearly formulates his main civic mission in the world: “I sing the same hymns.” Hymns about whom and to whom? It is interesting how ancient allegory is fused with biblical and evangelical ones. The plot of the ancient legend-myth, its goal setting, and morality are being rethought. The word “hymns” is used in its primary meaning: in Ancient Greece - a solemn song of praise in honor of the gods and heroes, and next to it stands the word “chasuble” - from another cultural layer, it once again emphasizes the Divine chosenness of the Singer. His emotional state is expressed not directly, but indirectly: ...And my wet robe I dry myself in the sun under a rock. “Rizu” - because he realizes his Divine destiny. Why damp and not wet from sea water? Because the epithet damp associated with the moisture of tears. Singing is the work of friends - a calling to a higher idea, the sacred duty of the Singer. And we know that in the history of Russian literature, Russian culture, it was Pushkin who conveyed to subsequent generations the sacrificial and radiant image of the “star of captivating happiness”; he conveyed to us that spiritual impulse that cannot be expressed, but can be felt by a soul ready to sacrifice for the sake of a lofty idea . That is, not only the lyrical hero, but also the real Alexander Sergeevich Pushkin himself fully fulfilled his sacred mission, for the sake of which he was “thrown ashore by a thunderstorm.” “The Case of the Decembrists” for the Poet is not just an attempt at political opposition to autocracy - it is the highest manifestation of a collective spiritual sacrificial ascent, a powerful impulse of pure spiritual energy of individuals liberated from the scab of spiritual dependence and fear. The crew of the boat are the true Ivan Tsarevichs, the Russian national ideal of the noblest, selfless sufferers for the truth. understood the spiritual essence of this national ideal better than others, which is why the parody of this spiritually degenerate ideal in the image of Stavrogin is so terrible and disgusting in his depiction. Petrusha Verkhovensky longs to get this “ideal” under his banner, but the concepts of “demons” and “ideal” are “incompatible.” At this point, the predictions of many horrors of the twentieth century converged, which we have not yet comprehended. Thus, having given his own assessment of the “cause of the Decembrists,” “terribly far from the people,” the poet-prophet predicted the future sad results of other stages of the “Russian liberation movement.” But there is no prophet in his own country... spoke extremely clearly and directly about the essence of the Poet’s mission and his relationship with the world. Here he was “terribly” honest because he did not accept compromises: Poet! don’t value people’s love... You are the king: live alone. On the road to freedom Go wherever your free mind takes you... ("To the Poet") Be silent, senseless people, Day laborer, slave of needs, worries!.. You are a worm of the earth, not a son of heaven... Go away - who cares To the peaceful poet before you! ("The Poet and the Crowd") “The purpose of poetry is poetry.” LESSON 9. The artistic role of archaisms in the poem “Prophet”. PROPHET We are tormented by spiritual thirst, In the dark desert I dragged along (–) And the six-winged Seraphim He appeared to me at a crossroads, (. ;) Fingers light as a dream my zenits he touched. (:) The prophetic eyes have opened, Like a frightened eagle. He touched my ears, And they were filled with noise and ringing; AND listened I the sky is shaking, AND mountain angels flight, AND bastard marine underwater passage, AND Vegetation of the valley of the vine. And he to the lips snuggled with mine And my sinner tore out my tongue, AND idle talk, and the crafty one, And the sting wise snakes IN mouth frozen my Invested right hand bloody. And he breasts me cut sword And he took out my trembling heart, AND coal, flaming fire, He pushed the open one into his chest. I lay like a corpse in the desert, And God voice to me called out: « Arise, prophet, and see and listen, Be fulfilled by my will And, bypassing the seas and lands, Burn with the verb people's hearts." (1826) Analysis of the poem “Prophet” according to plan. 1. Interpretation of images in the process of reading a poem. 2. Designation of archaisms and their explanation (archaisms are highlighted). 3. Writing out archaisms in a table:
Discussion of each word listed in the table, selection of similar words and modern synonyms. Why is there no impression of the poem being overloaded with archaisms? LESSON 10. Forgotten words. Working with the Dictionary. Words with the first partgood-. The first word in the Dictionary, good, is interpreted as both good and evil. Why? Goodness, goodness, goodness, goodness, goodness (fool), goodness, kindness, goodness, goodness, goodness, goodness, goodwill, goodwill, goodwill, goodwill, goodwill, incense, fragrant, well-mannered, well-mannered, well-timed, well-timed, good-belief, good-believing, evangelize . , gracious, benefactor, - nitsa, benefactor, - nitsa, grace, prosperity, prosperity, prosperous, prosper, benevolent, benevolent (eccentric, crazy), be complacent, complacency, complacent, be complacent, grace, benevolent, beneficent, benevolence, benefactor, benefactor, - benefactor, benevolent, well-wisher, - benefactor, benevolence, benevolence, benevolence, euphony, euphony, auspicious, benevolent, well-chosen, benevolent, benevolent, benevolence, benevolence, benevolent, benevolent, well-mannered, benefactor, benefactor, benevolence, benevolence, beneficence, benevolent, benevolent, benevolence, benevolence, beneficence, beneficence, beneficence, benevolent, benevolent, benevolent, beneficent, benevolent, benevolent, benevolent, benevolent, benevolent, benevolent, benevolent, benevolent, benevolent, benevolent, benevolent, benevolent, benevolent, piety, good language. Tasks. 1. How many words with the root good are included in the Dictionary? The computer underlines more than half of the words as unfamiliar. Why? Prepare a detailed answer-reasoning to this question. 2. Give an etymological analysis of the root of good. 3. Write down the words you know. How do you understand them? Where did you meet them? 5. Write down unfamiliar words. Explain their meaning without a dictionary. Compare your interpretations with the dictionary ones. How many words did you interpret correctly? Why? What words are appropriate to use in modern speech? Which words did you like best? Why? 6. How are most words formed? Explain the linguistic term calque. In what ways are other words formed? 7. Form some of your own words based on data models. Discuss them with your friends. 8. Write an essay-reasoning “Spiritual memory of ancestors”, including answers to the proposed questions. LESSON 11. Words with the first partgood-Andevil-, love-, soul-, spirit-, will-. Creative laboratory. The lesson is conducted according to the model of the previous one in the form of presenting a prepared project. What difference in moral content do you perceive in your roots? good about and kind O? Is this difference felt in modern life? What is the difference in understanding the words will and freedom? When answering, use etymological dictionaries. LESSON 12. Creative laboratory. Words with the first partsin-, great-, miracle-, labor-. Selection of words chosen by students with other roots. Compiling your own dictionaries. The lesson is conducted according to the model of the previous ones. How do the meanings of the roots relate? evil o-i sin O-? What is the modern understanding of the word sin? What is considered a sin now? LESSON 13. Creative laboratory. Preparing for the final conference. Selection of topics for reports, their discussion. Structure of reports. Selection of examples. A detailed methodology for holding a school scientific conference is described in the book: LESSON 14. Final conference “The fate of words of high style in the 21st century.” Types of exercises. Morphemic and word-formation analysis. Frequency models for the formation of high-style words. Common and outdated words. Interpretation of unfamiliar words. Creative work “I feel the word.” Interpretation of archaisms in program works. Vocabulary work. Choosing words according to a given pattern. History of the word. What words do I hear in modern speech? How the meanings of words change. Which words are recognized as archaisms, and which as historicisms? What words are associated with religion? Which ones are frequency ones? What words underlie the modern understanding of morality and ethics? High words and morality. Semantic nuances in Old Slavonic and original Russian roots (good and good). High words and moral character of the Russian person. Compare the Dictionary with modern dictionaries. Find out how many words with specific roots have survived in the modern language? Expressions used in modern speech, based on the metaphorical transfer of meanings: temple of science, altar of victory, iconostasis of orders, political gospel, apostles of the world revolution. Working with the word mercy (p. 152). Working with a dictionary. Who is bigger? Write down from memory the words with roots: good-, good-, evil-, sin-, great-feeling-, sweet-, golden-. Ancient expressions in Pushkin's lyrics: Kastalsky key, etc. mini-messages about each of these expressions. Vocabulary work: interpretation of unfamiliar expressions in different forms: quiz, game “What? Where? When?”, crosswords, competitions, etc. at the choice and suggestion of students. Forgotten words and expressions. Novel "Eugene Onegin". Philological analysis of poems. . Beggar (p.253), Pushkin “Liberty”. Work with Old Church Slavonicisms (p. 254, exercises 230, 232). Collection of tasks. 10-11, p. 108, task 306-317. Phraseology of ancient, biblical and evangelical origin. Working with the School Dictionary of Outdated Words. Selecting and analyzing high style words. Classes are conducted primarily in the form of project technology. Literature. 1. Babaytsev language. 10-11 grades. – M. 2009. 3. Bednar language. Difficult cases of learning syntax. – M., 2009. 4. The distance of the living Great Russian language. Any edition. 5. “Life comes from the word...” - St. Petersburg, 1999. 6. Ancient Rus': Heritage in the word. – St. Petersburg, 2001. 7. , Ashukina's words. – M., 1988. 8. Ozhegov of the Russian language. – M., 1986 et seq. publications 9., Karskaya dictionary of obsolete words of the Russian language. – M., 1996. 10. etc. Brief etymological dictionary. – M., 1971 (or other publications). 11. In the footsteps of “Eugene Onegin”. – M., 1999. Lomonosov. Collection Soch., vol. UP, p. 588. |
Every time you write a text or simply communicate with other people, you choose the style of speech that is most relevant for the given moment. There are five styles in total, but the success of your dialogue, both with your interlocutor and with the reader, depends entirely on the correct choice of each of them. For the reader, the style of your presentation is even more important, since when reading a person does not have non-verbal information about you, such as facial expressions, gestures, breathing rate, gaze, etc. So, today we will look at what text styles exist, what features they have and, of course, we will look at examples of these styles.
Five Basic Speech Styles
So, as mentioned above, any text that you create can be classified into one of five speech styles. Here they are:
- Scientific style
- Journalistic style
- Art style
- Formal business style
- Conversational style
Please note that different types of text tend to be different styles, although they may describe the same object. Let's look at an example. Suppose you need to write a text about a washing machine. How can you write it:
- You write a review with the main characteristics (scientific style)
- You write a selling text (conversational style)
- You are writing an SEO article for a blog (journalistic style)
- You write hypnotic text (art style)
- You are writing a commercial proposal (formal business style)
However, for greater objectivity, today we will not focus on the washing machine, but will simply consider all five styles of speech with various examples.
1. Scientific style of speech
The scientific style is characterized by strict writing requirements, which are described in more detail in the article "". In this article, an example of a scientific style will be more condensed, but if you are interested in an expanded version, it can be found at.
The scientific style is used among scientists as well as in educational settings. A distinctive feature of the scientific style is its objectivity and comprehensive approach to the issue under consideration. Theses, hypotheses, axioms, conclusions, monotonous coloring and patterns - this is what characterizes the scientific style.
An example of a scientific style of speech
Based on the results of the experiment, we can conclude that the object has a soft homogeneous structure, freely transmits light and can change a number of its parameters when exposed to a potential difference in the range from 5 to 33,000 V. Research has also shown that the object irreversibly changes its molecular structure under the influence of temperatures above 300 K. When mechanically acting on an object with a force of up to 1000 N, no visible changes in the structure are observed.
2. Journalistic style of speech
Unlike the scientific style, the journalistic style is more controversial and ambiguous. Its main feature: it is used for “brainwashing” in the media, and, therefore, is initially biased and contains the author’s assessment of ongoing events, phenomena or objects. The journalistic style is widely used for manipulation. Let's look at examples.
Let's say that in the village of Experimentalovo, a local resident, Uncle Vanya, conducted a series of tests of a new chemical drug on a chicken, as a result of which it began to lay golden eggs. Now let's see how the journalistic style can convey this information to us:
Example of journalistic style of speech No. 1
Incredible discovery! A resident of the remote village of Experimentalovo has invented a new drug that makes hens lay golden eggs! The secret that the world's greatest alchemists have struggled with for centuries has finally been revealed by our compatriot! So far there have been no comments from the inventor, he is currently on a heavy drinking binge, but we can definitely say that the discoveries of such patriots will definitely stabilize the economy of our country and strengthen its position on the world stage as a leader in the field of gold mining and production gold products for decades to come.
Example of journalistic style of speech No. 2
An act of unprecedented cruelty and inhumane treatment of animals was demonstrated by a resident of the village of Experimentalovo, who, for his own selfish purposes, with particular cynicism, used unfortunate chickens to create his “philosopher’s stone.” The gold was obtained, but this did not stop the flayer, and he, like an absolutely immoral type, went into a deep binge, without even trying to help the poor creatures who had become victims of his outrageous experiments. It is difficult to say what such a discovery entails, however, given the trends in the “scientist’s” behavior, we can conclude that he is clearly plotting to seize power over the world.
3. Artistic style of speech
When you are overtired by the dryness of the scientific style or the duplicity of the journalistic style, when you want to breathe in the lightness of something beautiful, bright and rich, overflowing with images and an unforgettable range of emotional shades, then artistic style comes to your aid.
So, the artistic style is “watercolor” for a writer. It is characterized by images, colors, emotions and sensuality.
An example of artistic speech style
Sidorovich slept poorly at night, waking up every now and then to the sound of thunder and flashing lightning. It was one of those terrible nights when you want to wrap yourself under a blanket, sticking your nose out for air, and imagine that you are in a hut in the wild steppe hundreds of kilometers from the nearest city.
Suddenly, out of nowhere, the palm of his wife, who was sleeping next to him, ran across Sidorovich’s ear:
“Go to sleep already, you damn traveler,” she moaned, sleepily smacking her tongue.
Sidorovich turned away offended, pouting. He was thinking about Taiga...
4. Formal business style of speech
The main characteristics of business style are accuracy, pedantry to detail, and imperativeness. This style places the main emphasis on conveying information, does not allow dual interpretations and, unlike the scientific style, may contain first and second person pronouns.
Example of business style of speech
I, Ivan Ivanovich Ivanov, express my sincere gratitude to the employees of the Primer LLC company, in particular, S.S. Sidorov. and Pupkov V.V. for the high level of quality of service and the prompt resolution of all controversial issues right on the spot and I ask you to encourage them in accordance with the terms of the collective agreement of Primer LLC.
5. Conversational style of speech
Conversational style is most characteristic of the modern Internet. With the massive emergence of blogs, it has become dominant on the Internet and leaves its mark not only in web journalism, but also in selling texts, slogans, etc.
The conversational style essentially blurs the boundaries between the author and the reader. It is characterized by naturalness, relaxedness, emotionality, its own specific vocabulary and adjustment to the recipient of information.
Example of conversational style of speech No. 1
Yo, dude! If you read this text, you will understand the topic. Energy, drive and speed are what define my life. I love extreme sports, I love thrills, I love when the adrenaline rushes through the roof and blows my mind away. I can’t live without this, dude, and I know that you understand me. I really don't care: skateboard or parkour, roller skates or bike, as long as I have something to challenge. And that's cool!
Example of conversational style of speech No. 2
Have you ever wondered what would happen if the Earth switched places with Jupiter? I'm serious! Would New Vasyuki appear on his rings? Of course not! They're made of gas! Have you really bought such blatant nonsense for even a minute? I won't believe it in my life! And if the moon fell into the Pacific Ocean, how much would its level rise? You probably think that I am a rare bore, but if I don’t ask these questions, then who will?
conclusions
So, today we looked at examples of speech styles in all their, albeit not rich, diversity. For different situations, different directions will be optimal, but the main thing you should pay attention to when creating text is the language of your audience and a style that is convenient for them. The emphasis on these two parameters allows your texts to be read in one breath, and, therefore, increases your chances of successfully completing the task assigned to the text.
