The artistic style of speech as a functional style is used in fiction, which performs a figurative-cognitive and ideological-aesthetic function. To understand the features of the artistic way of knowing reality, of thinking, which determines the specifics of artistic speech, it is necessary to compare it with the scientific way of knowing, which determines the characteristic features of scientific speech.

Fiction, like other types of art, is characterized by a concrete figurative representation of life, in contrast to the abstract, logical-conceptual, objective reflection of reality in scientific speech. A work of art is characterized by perception through the senses and re-creation of reality; the author strives, first of all, to convey his personal experience, his understanding and comprehension of a particular phenomenon.

The artistic style of speech is characterized by attention to the particular and random, followed by the typical and general. Remember the well-known “Dead Souls” by N.V. Gogol, where each of the shown landowners personifies certain specific human qualities, expresses a certain type, and all together they were the “face” of the author’s contemporary Russia.

The world of fiction is a “recreated” world; the reality depicted is, to a certain extent, the author’s fiction, which means that in the artistic style of speech the most important role is played by the subjective element. The entire surrounding reality is presented through the author's vision. But in a literary text we see not only the world of the writer, but also the writer in this world: his preferences, condemnation, admiration, rejection, etc. Associated with this is the emotionality and expressiveness, metaphor, and meaningful diversity of the artistic style of speech. Let’s analyze a short excerpt from L. N. Tolstoy’s story “A Foreigner Without Food”:

“Lera went to the exhibition only for the sake of her student, out of a sense of duty. "Alina Kruger. Personal exhibition. Life is like loss. Free admission". A bearded man and a lady were wandering in an empty hall. He looked at some of the work through a hole in his fist; he felt like a professional. Lera also looked through her fist, but did not notice the difference: the same naked men on chicken legs, and in the background the pagodas were on fire. The booklet about Alina said: “The artist projects a parable world onto the space of the infinite.” I wonder where and how they teach how to write art criticism texts? They're probably born with it. When visiting, Lera loved to leaf through art albums and, after looking at a reproduction, read what a specialist wrote about it. You see: a boy covered an insect with a net, on the sides there are angels blowing pioneer horns, in the sky there is a plane with the signs of the Zodiac on board. You read: “The artist views the canvas as a cult of the moment, where the stubbornness of details interacts with an attempt to comprehend everyday life.” You think: the author of the text spends little time outdoors, relies on coffee and cigarettes, his intimate life is somehow complicated.”

What we have before us is not an objective presentation of the exhibition, but a subjective description of the heroine of the story, behind whom the author is clearly visible. The story is built on the combination of three artistic plans. The first plan is what Lera sees in the paintings, the second is an art history text interpreting the content of the paintings. These plans are expressed stylistically in different ways; the bookishness and abstruseness of the descriptions are deliberately emphasized. And the third plan is the author’s irony, which manifests itself through showing the discrepancy between the content of the paintings and the verbal expression of this content, in the assessment of the bearded man, the author of the book text, and the ability to write such art criticism texts.

As a means of communication, artistic speech has its own language - a system of figurative forms expressed by linguistic and extralinguistic means. Artistic speech, along with non-fiction, constitute two levels of the national language. The basis of the artistic style of speech is the literary Russian language. The word in this functional style performs a nominative-figurative function. Here is the beginning of V. Larin’s novel “Neuronal Shock”:

“Marat’s father Stepan Porfiryevich Fateev, an orphan from infancy, was from a family of Astrakhan binders. The revolutionary whirlwind blew him out of the locomotive vestibule, dragged him through the Mikhelson plant in Moscow, machine gun courses in Petrograd and threw him into Novgorod-Seversky, a town of deceptive silence and bliss.”

In these two sentences, the author showed not only a segment of individual human life, but also the atmosphere of the era of enormous changes associated with the revolution of 1917. The first sentence gives knowledge of the social environment, material conditions, human relations in the childhood years of the life of the father of the hero of the novel and his own roots. The simple, rude people who surrounded the boy (a bindyuzhnik is the colloquial name for a port loader), the hard work that he saw from childhood, the restlessness of orphanhood - this is what stands behind this proposal. And the next sentence includes private life in the cycle of history. Metaphorical phrases the revolutionary whirlwind blew..., dragged..., threw... they liken human life to a certain grain of sand that cannot withstand historical cataclysms, and at the same time convey the element of the general movement of those “who were nobody.” In a scientific or official business text, such imagery, such a layer of in-depth information is impossible.

The lexical composition and functioning of words in the artistic style of speech have their own characteristics. The number of words that form the basis and create the imagery of this style primarily includes figurative means of the Russian literary language, as well as words that realize their meaning in the context. These are words with a wide range of usage. Highly specialized words are used to a small extent, only to create artistic authenticity when describing certain aspects of life. For example, L.N. Tolstoy in War and Peace used special military vocabulary when describing battle scenes; We will find a significant number of words from the hunting vocabulary in “Notes of a Hunter” by I.S. Turgenev, in the stories of M.M. Prishvina, V.A. Astafiev, and in “The Queen of Spades” A.S. Pushkin has many words from the vocabulary of card games, etc. In the artistic style of speech, the verbal polysemy of the word is very widely used, which opens up additional meanings and shades of meaning, as well as synonymy at all linguistic levels, making it possible to emphasize the subtlest shades of meaning. This is explained by the fact that the author strives to use all the riches of the language, to create his own unique language and style, to create a bright, expressive, figurative text. The author uses not only the vocabulary of the codified literary language, but also a variety of figurative means from colloquial speech and vernacular. Let us give an example of the use of such a technique by B. Okudzhava in “The Adventures of Shipov”:

“In Evdokimov’s tavern they were about to turn off the lamps when the scandal began. The scandal started like this. At first everything in the hall looked fine, and even the tavern floorman, Potap, told the owner that today God had mercy - not a single broken bottle, when suddenly in the depths, in the semi-darkness, in the very core, there was a buzz like a swarm of bees.

“Fathers of light,” the owner lazily marveled, “here, Potapka, is your evil eye, damn it!” Well, you should have croaked, damn it!”

The emotionality and expressiveness of the image come to the fore in a literary text. Many words, which in scientific speech act as clearly defined abstract concepts, in newspaper and journalistic speech - as socially generalized concepts, in artistic speech carry concrete sensory ideas. Thus, the styles functionally complement each other. For example, adjective lead in scientific speech realizes its direct meaning ( lead ore, lead bullet), and the artistic one forms an expressive metaphor ( lead clouds, lead night, lead waves). Therefore, in artistic speech an important role is played by phrases that create a kind of figurative representation.

Artistic speech, especially poetic speech, is characterized by inversion, i.e. changing the usual order of words in a sentence in order to enhance the semantic significance of a word or give the entire phrase a special stylistic coloring. An example of inversion is the famous line from A. Akhmatova’s poem “I still see Pavlovsk as hilly...”. The author's word order options are varied and subordinate to the general concept.

The syntactic structure of artistic speech reflects the flow of figurative and emotional impressions of the author, so here you can find a whole variety of syntactic structures. Each author subordinates linguistic means to the fulfillment of his ideological and aesthetic tasks. Thus, L. Petrushevskaya, in order to show the unsettled, “troubles” of the family life of the heroine of the story “Poetry in Life,” includes several simple and complex sentences in one sentence:

“In Mila’s story, then everything went downhill, Mila’s husband in the new two-room apartment no longer protected Mila from her mother, her mother lived separately, and there was no telephone either here or here - Mila’s husband became his own man and Iago and Othello and with mockingly, from around the corner I watched how Mila was accosted on the street by men of his type, builders, prospectors, poets, who did not know how heavy this burden was, how unbearable life was if you fought alone, since beauty is not a helper in life, This is how one could approximately translate those obscene, desperate monologues that the former agronomist, and now a researcher, Mila’s husband, shouted both on the streets at night, and in his apartment, and when drunk, so that Mila was hiding with her young daughter somewhere, found shelter for herself, and the unfortunate husband beat furniture and threw iron pans.”

This sentence is perceived as an endless complaint from countless unhappy women, as a continuation of the theme of a woman’s sad lot.

In artistic speech, deviations from structural norms are also possible, due to artistic actualization, i.e. the author highlighting some thought, idea, feature that is important for the meaning of the work. They can be expressed in violation of phonetic, lexical, morphological and other norms. This technique is especially often used to create a comic effect or a bright, expressive artistic image. Let's consider an example from the work of B. Okudzhava “The Adventures of Shipov”:

“Oh, dear,” Shipov shook his head, “why do you do this? No need. I see right through you, mon cher... Hey, Potapka, why did you forget the man on the street? Lead here, waking up. Well, Mr. Student, how do you rent out this tavern? It's dirty. Do you think I like it?... I’ve been to real restaurants, sir, I know... Pure empire... But you can’t talk to people there, but here I can learn something.”

The speech of the main character characterizes him very clearly: not very educated, but ambitious, wanting to give the impression of a gentleman, master, Shipov uses elementary French words (mon cher) along with colloquial waking up, waking up, here, which do not correspond not only to the literary, but also to the colloquial form. But all these deviations in the text serve the law of artistic necessity.

Instructions

This style can otherwise be called the style of fiction. It is used in verbal and artistic creativity. Its main goal is to influence the feelings and thoughts of readers and listeners with the help of images created by the author.

Artistic style (like any other) involves the selection of linguistic means. But in contrast to official business and scientific styles, it widely uses all the richness of vocabulary, special imagery and emotionality of speech. In addition, he uses the possibilities of different styles: conversational, journalistic, scientific and official business.

The artistic style is distinguished by special attention to the random and particular, behind which typical features and images of the time are visible. As an example, we can recall “Dead Souls”, where N.V. Gogol portrayed landowners, each of whom is the personification of certain human qualities, but all of them together are the “face” of Russia in the 19th century.

Another distinctive feature of the artistic style is the subjective aspect, the presence of the author’s fiction or “re-recreation” of reality. The world of a literary work is the world of the writer, where reality is presented through his vision. In a literary text, the author expresses his preferences, rejections, condemnations and admirations. Therefore, the artistic style is characterized by expressiveness, emotionality, metaphor and versatility.

To prove artistic style, read the text and analyze the language used in it. Pay attention to their diversity. Literary works use a large number of tropes (epithets, metaphors, comparisons, hyperboles, personifications, periphrases and allegories) and stylistic figures (anaphors, antitheses, oxymorons, rhetorical questions and appeals, etc.). For example: “a little man as big as a finger” (litotes), “the horse runs - the earth trembles” (allegory), “streams ran from the mountains” (personification).

The artistic style clearly reveals the polysemy of words. Writers often discover additional meanings and meanings in them. For example, the adjective “lead” in a scientific or journalistic style will be used in its direct meaning of “lead bullet” and “lead ore”; in an artistic style, it will most likely act as a metaphor for “lead twilight” or “lead clouds”.

When parsing the text, be sure to pay attention to its function. If the colloquial style serves for communication or communication, the formal business and scientific style are informative, and the artistic style is intended for emotional impact. Its main function is aesthetic, to which all linguistic means used in a literary work are subject.

Determine the form in which the text is implemented. The artistic style is used in drama, prose and poetry. They are accordingly divided into genres (tragedy, comedy, drama; novel, story, short story, miniature; poem, fable, poem, etc.).

note

The basis of artistic style is literary language. But often it uses colloquial and professional vocabulary, dialectisms and vernacular. This is due to the desire of writers to create a special, unique author’s style and give the text vivid imagery.

Helpful advice

A style can only be determined by the totality of all its characteristics (function, set of linguistic means, form of implementation).

Sources:

• Artistic style: language and features
• how to prove that the text

Tip 2: Distinctive features of the formal business style of the text

The language used in different areas of activity differs, in addition, it can be very different from the spoken language. For such spheres of public life as science, office work, jurisprudence, politics and the media, there are subtypes of the Russian language that have their own characteristic features, both lexical and morphological, syntactic and textual. It has its own stylistic features and official business text.

Why do you need a formal business style when correspondence?

Business documents can be presented to the court as evidence at any time, since, due to their specific nature, they have legal force.

Such a document has legal significance; its author, as a rule, acts not as a private individual, but is an authorized representative of the organization. Therefore, increased requirements are imposed on any official business text to eliminate ambiguity and ambiguity of interpretation. Also, the text must be communicatively accurate and adequately reflect the thoughts that the author expresses.

Main features of official business style

An official business document must have details - output data, and there are also specific requirements for their location on the page.

The text written in this style is emphatically logical and unemotional. It must be extremely informative, therefore thoughts are strictly formulated, and the presentation of the situation itself must be restrained, using stylistically neutral words and expressions. The use of any phrases that carry an emotional charge, expressions used in common parlance, and especially slang, is excluded.

To eliminate ambiguity, personal demonstrative pronouns (“he,” “she,” “they”) are not used in a business document, since in the context of two nouns of the same gender, ambiguity of interpretation or contradiction may arise. As a consequence of the mandatory condition of logic and argumentation, when writing a business text, complex sentences with a large number of conjunctions are used, conveying the logic of relationships. For example, constructions that are not often used in everyday life are used, including conjunctions such as “due to the fact that”, “for the purpose of which”.

Video on the topic

Since ancient times, France has been considered not just a country whose residents have exquisite taste. She was a trendsetter. In Paris, as in the very heart of the country, even its own special style has been formed.

When talking about Parisian women, many people imagine a sophisticated woman with impeccable hair and impeccable makeup. She is wearing high-heeled shoes and elegant business clothes. The lady is surrounded by a halo of the aroma of expensive perfume, and her gaze is directed into the distance. So what is it, Parisian style?

Must-have wardrobe items for a Parisian woman.

Many representatives of the fair sex, who strive to look stylish and sophisticated every day, have a set of basic, must-have items in their wardrobe. What kind of items can be found in a Parisian woman's closet?

1. Ballet shoes. Contrary to popular belief, shoes with heels are not always preferred. In everyday life they wear comfortable ballet shoes with thin soles.

2. Bag with a long strap. A handbag thrown over one shoulder is a habit of a large number of residents of the fashion capital.

3.Large size scarf. Residents of many countries prefer a variety of voluminous scarves. However, most Parisians believe that this is an irreplaceable and absolutely necessary accessory during the cold season.

4. A fitted jacket, raincoat or jacket. A truly French style is to wear fitted jackets. They are decorated with thin straps or worn wide open.

5.Large sunglasses. In combination with hair pulled back into a tight ponytail, bun or updo, these glasses look especially stylish and sophisticated.

6. Clothing in black. For Parisian women, black is not the color of mourning. For them, he is the personification of style and grace. Therefore, to create a Parisian look, you need to have black T-shirts, T-shirts, sweaters and other items of clothing in your wardrobe.

Which is unacceptable for the Parisian style.

There are things that a lady with truly French views on fashion will never allow herself to buy, much less wear. One of the first places on the list of “bad manners” included too long bright false nails. Many representatives of France prefer naturalness and neutrality in everything. Including in .

A miniskirt combined with a deep neckline is also not in the style of a resident of the fashion capital. The true one is unlikely to allow herself to look too open and too sexy.

Bright hair color, multi-colored highlights, flashy accessories, all kinds of backcombing and a huge amount of hair styling products. In most cases, a lady living in Paris will bypass this entire list and will only be surprised that it occurred to someone to experiment with their appearance in such a way.

The main criterion that distinguishes a true Parisian is harmony in everything: in clothes, style, look, hairstyle, accessories. She does not seek to repeat someone else's image and is of the opinion that each person is unique.

Video on the topic

Within a particular style of speech, several genres are usually distinguished, each of which represents a special form of organizing material. The scientific style is particularly diverse in genre, which is determined by the need to convey the meaning of scientific principles to different audiences.

Actually scientific style of speech

Most research monographs and solid scientific articles belong to the scientific style proper. The peculiarity of this genre is that such texts, as a rule, are written by professional scientists for the same specialists. This academic style is very often found in scientific works devoted to one issue, as well as in short essays where the author presents the results of scientific research.

Texts written in a strictly scientific style are distinguished by precision of presentation, verified logical constructions, and an abundance of generalizing terms and abstract concepts. A standard academic text compiled in this genre has a strict structural composition, which includes a title, introductory and main parts, conclusions and conclusion.

Scientific and informative genre of scientific style

The secondary form of the scientific style of speech is considered to be the scientific-informative genre. It is usually compiled on the basis of some basic, reference text. Original monographs or articles are often taken as a basis. An example of texts written in the scientific and informational genre can be theses, or.

A scientific informative text is a creatively revised presentation of the primary material, completely coinciding with it in meaning. However, it does not contain all, but only basic information, only the most essential information about the subject. Writing works in this genre requires the ability to work with scientific literature, evaluate sources and convey their content in a condensed form without distortion.

Other genres of scientific style of speech

Linguistic specialists often combine texts of scientific reference, educational and scientific and popular science genres of scientific style into one large group. These substyles are characterized by the focus of information not so much on specialists, but on those who are far from the specifics of the subject at the center of the publication. Not only the results of scientific research are important, but also the form.

In the educational and scientific genre, textbooks and lecture texts are most often written. The scientific reference genre, characterized by extreme clarity and conciseness, is typical for reference publications, scientific dictionaries, encyclopedias and catalogues. Texts composed in the popular science genre are less tied to special terminology. They are often used in books intended for a mass audience, as well as in television and radio programs covering scientific topics.

The book sphere of communication is expressed through an artistic style - a multi-tasking literary style that has developed historically and stands out from other styles through means of expressiveness.

Artistic style serves literary works and aesthetic human activity. The main goal is to influence the reader with the help of sensory images. Tasks by which the goal of the artistic style is achieved:

• Creating a living picture that describes the work.
• Transferring the emotional and sensory state of the characters to the reader.

Features of artistic style

Artistic style has a purpose of emotional impact on a person, but it is not the only one. The general picture of the application of this style is described through its functions:

• Figurative-cognitive. Presenting information about the world and society through the emotional component of the text.
• Ideological and aesthetic. Maintaining the system of images through which the writer conveys the idea of ​​the work to the reader awaits a response to the plot's concept.
• Communicative. Expressing the vision of an object through sensory perception. Information from the artistic world is connected with reality.

Signs and characteristic linguistic features of artistic style

To easily identify this style of literature, let’s pay attention to its features:

• Original syllable. Due to the special presentation of the text, the word becomes interesting without contextual meaning, breaking the canonical patterns of text construction.
• High level of text organization. Dividing prose into chapters and parts; in a play - division into scenes, acts, phenomena. In poems, metric is the size of the verse; stanza - the study of the combination of poems, rhyme.
• High level of polysemy. The presence of several interrelated meanings for one word.
• Dialogues. The artistic style is dominated by the speech of characters as a way of describing phenomena and events in the work.

The literary text contains all the richness of the vocabulary of the Russian language. The presentation of the emotionality and imagery inherent in this style is carried out using special means called tropes - linguistic means of expressive speech, words in a figurative meaning. Examples of some tropes:

• Comparison is part of the work, with the help of which the character’s image is complemented.
• Metaphor is the meaning of a word in a figurative sense, based on an analogy with another object or phenomenon.
• An epithet is a definition that makes a word expressive.
• Metonymy is a combination of words in which one object is replaced by another on the basis of spatio-temporal similarity.
• Hyperbole is a stylistic exaggeration of a phenomenon.
• Litota is a stylistic understatement of a phenomenon.

Where is the fiction style used?

The artistic style has incorporated numerous aspects and structures of the Russian language: tropes, polysemy of words, complex grammatical and syntactic structure. Therefore, its general scope of application is enormous. It also includes the main genres of works of art.

The genres of artistic style used are related to one of the genres that express reality in a special way:

• Epic. Shows external unrest, the author’s thoughts (description of storylines).
• Lyrics. Reflects the author's inner emotions (the experiences of the characters, their feelings and thoughts).
• Drama. The presence of the author in the text is minimal, there is a large number of dialogues between the characters. Such works are often made into theatrical productions. Example - Three sisters A.P. Chekhov.

These genres have subtypes, which can be divided into even more specific varieties. Basic:

Epic genres:

• Epic is a genre of work in which historical events predominate.
• A novel is a large manuscript with a complex plot line. All attention is paid to the life and fate of the characters.
• A short story is a work of smaller volume that describes the life story of a hero.
• A story is a medium-sized manuscript that has the plot features of a novel and a short story.

Lyric genres:

• Ode is a solemn song.
• An epigram is a satirical poem. Example: A. S. Pushkin “Epigram on M. S. Vorontsov.”
• Elegy is a lyrical poem.
• A sonnet is a poetic form of 14 lines, the rhyme of which has a strict construction system. Examples of this genre are common in Shakespeare.

Genres of dramatic works:

• Comedy - the genre is based on a plot that makes fun of social vices.
• Tragedy is a work that describes the tragic fate of heroes, the struggle of characters and relationships.
• Drama – has a dialogue structure with a serious storyline showing the characters and their dramatic relationships with each other or with society.

How to define a literary text?

It is easier to understand and consider the features of this style when the reader is provided with a literary text with a clear example. Let's practice determining what style of text is in front of us using an example:

“Marat’s father Stepan Porfiryevich Fateev, an orphan from infancy, was from a family of Astrakhan binders. The revolutionary whirlwind blew him out of the locomotive vestibule, dragged him through the Mikhelson plant in Moscow, machine gun courses in Petrograd ... "

Main aspects confirming the artistic style of speech:

• This text is based on conveying events from an emotional point of view, so there is no doubt that this is a literary text.
• The means used in the example: “a revolutionary whirlwind blew out, dragged” is nothing more than a trope, or rather, a metaphor. The use of this trope is inherent only in literary texts.
• An example of a description of a person’s fate, environment, social events. Conclusion: this literary text belongs to the epic.

Any text can be analyzed in detail using this principle. If the functions or distinctive features described above immediately catch your eye, then there is no doubt that this is a literary text.

If you find it difficult to deal with a large amount of information on your own; the basic means and features of a literary text are not clear to you; Examples of tasks seem difficult - use a resource such as a presentation. A ready-made presentation with illustrative examples will clearly fill gaps in knowledge. The area of ​​the school subject “Russian language and literature” is served by electronic sources of information on functional speech styles. Please note that the presentation is succinct and informative and contains explanatory means.

Thus, once you understand the definition of artistic style, you will better understand the structure of works. And if a muse visits you and you want to write a work of art yourself, follow the lexical components of the text and the emotional presentation. Good luck with your studies!

Topic 10. Linguistic features of artistic style

Topic 10.LANGUAGE FEATURES OF ART STYLE

A beautiful thought loses its value,

if it is poorly expressed.

Voltaire

Lesson plan:

Theoretical block

Paths. Types of trails.

Stylistic figures. Types of stylistic figures.

Functional characteristics of linguistic means of expression in artistic style.

Practical block

Identification of visual and expressive means in artistic style texts and their analysis

Functional characteristics of tropes and figures

Composing texts using reference expressions

Tasks for SRO

Bibliography:

1.Golub I.B. Stylistics of the Russian language. – M., 1997. – 448 p.

2. Kozhin A.N., Krylova ABOUT.A., Odintsov IN.IN. Functional types of Russian speech. – M.: Higher School, 1982. – 392 p.

3.Lapteva, M. A. Russian language and culture of speech. – Krasnoyarsk: IPC KSTU, 2006. – 216 p.

4.Rosenthal D.E. Handbook of the Russian language. Practical stylistics of the Russian language. – M., 2001. – 381 p.

5.Khamidova L.V.,Shakhova L.A. Practical stylistics and speech culture. – Tambov: TSTU Publishing House, 2001. – 34 p.

THEORETICAL BLOCK

Linguistic features of artistic style

The artistic style of speech is distinguished by figurativeness, expressiveness, and extensive use of figurative and expressive means of language. Means of artistic expression add brightness to speech, enhance its emotional impact, and attract the attention of the reader and listener to the statement.

The means of expression in artistic style are varied and numerous. Typically, researchers distinguish two groups of visual and expressive means: tropes and stylistic figures.

MOST COMMON TYPES OF TRAILS

STYLISTIC FIGURES

PRACTICAL BLOCK

Questions for discussion and reinforcement :

What are the main features of an artistic style of speech?

What area does the artistic style of speech serve?

What means of artistic expression do you know?

What groups are the figurative and expressive means of language divided into?

What are paths called? Describe them.

What function do tropes serve in a text?

What stylistic figures do you know?

For what purpose are stylistic figures used in the text?

Describe the types of stylistic figures.

Exercise 1 . Establish a correspondence: find the corresponding definitions for the concepts presented below - paths (left column) (right column)

Exercise 2 . Find epithets in the sentences. Determine the form of their expression. What role do they play in the text? Make up your own sentences using epithets.

1. On the heavenly blue dish of yellow clouds there is honey smoke….(S.E.). 2. In the wild north it stands alone....(Lerm); 3. Around the whitening ponds there are bushes in fluffy sheepskin coats... (Marsh.). 4. B the waves rush, thundering and sparkling.

Exercise 3 .

1. Sleeping the earth in a blue radiance... (Lerm.). 2. I had an early, still drowsy morning left and deaf night. (Green). 3. Appeared in the distance train head. 4. wing of the building clearly needed renovation. 4. Ship flies by the will of stormy waters... (Lerm.). 5. Liquid, the early breeze is already went wandering And flutter above the ground... (Turg.). 6. Silver the smoke rose to the clear and precious sky... (Paust.)

Exercise 4 . Find examples of metonymy in the sentences. What is the metonymic transfer of names based on? Compose your sentences using metonymy.

1. Preparing for the exam, Murat re-read Tolstoy. 2. The class enjoyed visiting the porcelain exhibition. 3. The whole city came out to meet the astronaut. 4. It was quiet on the street, the house was sleeping. 5. The audience listened to the speaker attentively. 6. The athletes brought gold and silver from the competition.

Exercise 5 . Determine the meaning of the highlighted words. What type of trail can they be classified as? Make up your own sentences using the same type of trope.

1. Sundress behind the caftan doesn't run. (last). 2. All flags will come to visit us (P.). 3. Blue berets hastily landed on the shore. 4. The best beards countries gathered for the performance. (I. Ilf). 5. A woman in a hat stood in front of me. Hat was indignant. 6. After some thought, we decided to catch motor.

Exercise 6. Find comparisons in the sentences. Determine the form of their expression. Make up your own sentences using comparisons of different forms of expression.

1. Everywhere large drops of dew began to glow like radiant diamonds. (Turg.) 2. The dress she was wearing was the color of green. 3. The dawn burst into flames…. (Turg.). 4. The light fell from under the hood in a wide cone... (Bitov). 5. Words fall from hot lips like night hawks. (B. Ok.). 6. Day the newspaper rustles outside the doors, a late schoolboy runs. (Slutsk). 7. Ice, like melting sugar, lies on a frozen river.

Exercise 7 . Read the sentences. Write them off. Provide examples of impersonation

(1 option); hyperbolas ( Option 2); c) litotes ( Option 3). Give reasons for your answer.

Silent sadness will be consoled, And playful joy will reflect...( P.).

Bloomers as wide as the Black Sea... ( Gogol).

The autumn night burst into tears of icy tears... ( Fet).

And we haven’t seen each other for probably a hundred years...( Ruby).

The horse is led by the bridle by a peasant in big boots, a short sheepskin coat, and large mittens... and he himself from marigold! (Nekr.).

Some houses are as long as the stars, others as long as the moon; baobabs to the sky

(Lighthouse.).

Your Pomeranian is a lovely Pomeranian, no bigger than a thimble! ( Griboyedov).

Exercise 8. Read the text.

It was a beautiful July day, one of those days that only happen when the weather has settled for a long time. From early morning the sky is clear; The morning dawn does not burn with fire: it spreads with a gentle blush. The sun - not fiery, not hot, as during a sultry drought, not dull crimson, as before a storm, but bright and welcomingly radiant - floats up peacefully under a narrow and long cloud, shines freshly and plunges into a purple fog. The upper, thin edge of the stretched cloud will sparkle with snakes; their shine is like the shine of forged silver...

But then the playing rays poured out again, and the mighty luminary rose cheerfully and majestically, as if taking off. Around noon there usually appears many round high clouds, golden-gray, with delicate white edges.

Like islands scattered along an endlessly overflowing river, flowing around them with deeply transparent branches of even blue, they hardly move from their place; further, towards the horizon, they move, crowd together, the blue between them is no longer visible; but they themselves are as azure as the sky: they are all thoroughly imbued with light and warmth. The color of the sky, light, pale lilac, does not change throughout the day and is the same all around; It doesn’t get dark anywhere, the thunderstorm doesn’t thicken; unless here and there bluish stripes stretch from top to bottom: then barely noticeable rain is falling. By evening these clouds disappear; the last of them, blackish and vague, like smoke, lie in pink clouds opposite the setting sun; at the place where it set as calmly as it calmly rose into the sky, a scarlet glow stands for a short time over the darkened earth, and, quietly blinking, like a carefully carried candle, the evening star glows on it. On days like these, the colors are all softened; light, but not bright; everything bears the stamp of some touching meekness. On such days, the heat is sometimes very strong, sometimes even “soaring” along the slopes of the fields; but the wind disperses, pushes apart the accumulated heat, and whirlwind vortices - an undoubted sign of constant weather - walk in tall white columns along the roads through the arable land. The dry and clean air smells of wormwood, compressed rye, and buckwheat; even an hour before night you do not feel damp. The farmer wishes for similar weather for harvesting grain... (I. Turgenev. Bezhin meadow.)

Write out unfamiliar words from the text and determine their meaning.

Determine the style and type of text.

Divide the text into meaningful parts. Formulate the main idea of ​​the text, its theme. Title the text.

What words carry a special meaning in the text?

Indicate words from one thematic group.

Find definitions in the text. Are they all epithets?

What means of artistic expression did the author use in the text?

Write out examples of tropes from the text: epithets ( 1 option); comparisons( Option 2); metaphors. ( Option 3). Give reasons for your choice.

Exercise 9. Read the texts about winter.

1.Winter is the coldest time of the year. ( WITH. Ozhegov).

2. Winter on the coast is not as bad as in the depths of the peninsula, and the mercury in the thermometer does not fall below forty-two, and the further you are from the ocean, the stronger the frost - so old-timers believe that forty-two below zero is something like September frosts on the grass. But near the water, the weather is more changeable: sometimes a blizzard drenches your eyes, people walk like a wall against the wind, sometimes the frost will grab you by the quick and, like leprosy, make you white, then you have to rub it with a cloth until it bleeds, which is why they say: “Three to the nose, everything will pass.” ( B. Kryachko)

Hello, in a white sundress

From silver brocade!

Diamonds burn on you like bright rays.

Hello, Russian young lady,

A beautiful soul.

Snow-white winch,

Hello, winter-winter! ( P. Vyazemsky)

4. The Russian forest is beautiful and wonderful in winter. Deep, clean snowdrifts lie under the trees. Above the forest paths, the trunks of young birch trees bent in lacy white arches under the weight of frost. The dark green branches of tall and small spruce trees are covered with heavy caps of white snow. You stand and admire their tops, studded with necklaces of purple cones. You watch with delight how, whistling merrily, flocks of red-breasted crossbills fly from spruce to spruce and swing on their cones. ( I. Sokolov - Mikitov)

Determine the style, genre and purpose of each text.

Indicate the main stylistic features of each text.

What linguistic means are used in the texts about winter?

Exercise 10. Create your own free-form winter landscape sketch using at least ten (10) definitions selected from the words below. What function do they perform in the text? Whose text is most successful and why?

White, first, fresh, withered, cool, frosty, unkind, snow-white, angry, harsh, bright, chilly, wonderful, clear, invigorating, prickly, hot, angry, creaky, crunchy, blue, silver, thoughtful, silent, gloomy, gloomy, huge, huge, predatory, hungry, fast, icy, frozen, warm, sparkling, clean.

Exercise 11. Compose a syncwine for the micro-topic “Trails as figurative and expressive means of the Russian language”:

1 option– keyword “Impersonation”;

Option 2– key word “Hyperbole”;

Option 3– key word “Litota”;

Option 4– the key word is “Allegory”.

Exercise 12. Read the text. Divide the text into meaningful parts. Give it a title.

The steppe, bound by moonlight, waited for the morning. There was that pre-dawn silence that has no name. And only a very sensitive ear, accustomed to this silence, would have heard the continuous rustling coming from the steppe all night. One time something rang...

The first whitish ray of dawn broke through from behind a distant cloud, the moon immediately faded, and the earth darkened. And then a caravan suddenly appeared. Camels walked chest-deep in the lush meadow grass mixed with young reeds. To the right and left, herds of horses moved in a heavy mass, crushing the meadow, dived into the grass and riders appeared from it again. From time to time the chain of camels was broken, and, connected to each other by a long woolen rope, tall two-wheeled carts rolled in the grass. Then the camels walked again...

A distant cloud melted, and the sun suddenly poured into the steppe all at once. Like scatterings of precious stones, it sparkled in all directions to the very horizon. It was the second half of summer, and the time had already passed when the steppe looked like a bride in a wedding dress. All that remained were the emerald green of the reeds, the yellow-red islands of overripe prickly flowers, and among the overgrowth of belated sorrel the scarlet eyes of the drupes glowed. The steppe glittered with the steep sides of well-fed horses, fattened over the summer.

And as soon as the sun flared up, the dull and powerful stomping, snoring, neighing, melancholy roar of camels, the creaking of high wooden wheels, and human voices immediately became clearly audible. Quails and blind owls, caught by surprise by the approaching avalanche, fluttered noisily from under the bushes. It was as if the light instantly dissolved the silence and brought it all to life...

At first glance, it was clear that this was not just a seasonal migration of one of the countless villages scattered in the endless Kazakh steppe. The young horsemen did not rush around on both sides of the caravan, as usual, and did not laugh with the girls. They rode in silence, staying close to the camels. And the women on camels, wrapped in white scarves - kimesheks, were also silent. Even small children did not cry and only stared at their round black eyes from the saddlebags - baskets on both sides of the camels' humps.

(I. Yesenberlin. Nomads.)

Write out unfamiliar words from the text and determine their meaning in a dictionary.

What substyle of artistic style does the text belong to? Give reasons for your answer.

Determine the type of speech. Give reasons for your answer.

What time of year is presented in the text?

Highlight key words and phrases in the text that are necessary to convey the main content.

Write out the paths from the text, determine their type. For what purpose does the author use these figurative and expressive means in the text?

Reproduce the text in your own words. Determine the style of your text. Has the functional and stylistic affiliation of the text been preserved?

Introduction

1. Literary and artistic style

2. Imagery as a unit of figurativeness and expressiveness

3. Vocabulary with subject meaning as the basis for visualization

Conclusion

Literature

Introduction

Depending on the scope of language, the content of the utterance, the situation and the goals of communication, several functional-style varieties, or styles, are distinguished, characterized by a certain system of selection and organization of linguistic means in them.

Functional style is a historically established and socially conscious variety of a literary language (its subsystem), functioning in a certain sphere of human activity and communication, created by the peculiarities of the use of linguistic means in this sphere and their specific organization.

The classification of styles is based on extralinguistic factors: the scope of use of the language, the subject matter determined by it and the goals of communication. The areas of application of language correlate with types of human activity corresponding to forms of social consciousness (science, law, politics, art). Traditional and socially significant areas of activity are: scientific, business (administrative and legal), socio-political, artistic. Accordingly, they also distinguish between the styles of official speech (book): scientific, official business, journalistic, literary and artistic (artistic). They are contrasted with the style of informal speech - colloquial and everyday.

The literary and artistic style of speech stands apart in this classification, since the question of the legality of its isolation into a separate functional style has not yet been resolved, since it has rather blurred boundaries and can use the linguistic means of all other styles. The specificity of this style is also the presence in it of various visual and expressive means to convey a special property - imagery.

1. Literary and artistic style

As we noted above, the question of the language of fiction and its place in the system of functional styles is resolved ambiguously: some researchers (V.V. Vinogradov, R.A. Budagov, A.I. Efimov, M.N. Kozhina, A. N. Vasilyeva, B.N. Golovin) include a special artistic style in the system of functional styles, others (L.Yu. Maksimov, K.A. Panfilov, M.M. Shansky, D.N. Shmelev, V.D. Bondaletov) believe that there is no reason for this. The following are given as arguments against distinguishing the style of fiction: 1) the language of fiction is not included in the concept of literary language; 2) it is multi-styled, open-ended, and does not have specific features that would be inherent in the language of fiction as a whole; 3) the language of fiction has a special, aesthetic function, which is expressed in a very specific use of linguistic means.

It seems to us that the opinion of M.N. is very legitimate. Kozhina that “extending artistic speech beyond functional styles impoverishes our understanding of the functions of language. If we remove artistic speech from the list of functional styles, but assume that literary language exists in many functions, and this cannot be denied, then it turns out that the aesthetic function is not one of the functions of language. The use of language in the aesthetic sphere is one of the highest achievements of the literary language, and because of this, neither the literary language ceases to be such when it enters a work of art, nor the language of fiction ceases to be a manifestation of the literary language.”

The main goal of the literary and artistic style is to master the world according to the laws of beauty, satisfy the aesthetic needs of both the author of a work of art and the reader, and have an aesthetic impact on the reader with the help of artistic images.

Used in literary works of various kinds and genres: stories, tales, novels, poems, poems, tragedies, comedies, etc.

The language of fiction, despite its stylistic heterogeneity, despite the fact that the author’s individuality is clearly manifested in it, is still distinguished by a number of specific features that make it possible to distinguish artistic speech from any other style.

The features of the language of fiction as a whole are determined by several factors. It is characterized by broad metaphoricality, imagery of linguistic units of almost all levels, the use of synonyms of all types, polysemy, and different stylistic layers of vocabulary is observed. The artistic style (compared to other functional styles) has its own laws of word perception. The meaning of a word is largely determined by the author’s goal setting, genre and compositional features of the work of art of which this word is an element: firstly, in the context of a given literary work it can acquire artistic ambiguity not recorded in dictionaries; secondly, it retains its connection with the ideological and aesthetic system of this work and is assessed by us as beautiful or ugly, sublime or base, tragic or comic:

The use of linguistic means in fiction is ultimately subordinated to the author's intention, the content of the work, the creation of an image and the impact through it on the addressee. Writers in their works proceed, first of all, from accurately conveying thoughts and feelings, truthfully revealing the spiritual world of the hero, and realistically recreating language and image. Not only the normative facts of language, but also deviations from general literary norms are subject to the author's intention and the desire for artistic truth.

The breadth of literary speech covering the means of the national language is so great that it allows us to affirm the idea of ​​the fundamental potential possibility of including all existing linguistic means (though connected in a certain way) into the style of fiction.

The listed facts indicate that the style of fiction has a number of features that allow it to take its own special place in the system of functional styles of the Russian language.

2. Imagery as a unit of figurativeness and expressiveness

Figurativeness and expressiveness are integral properties of an artistic and literary style, therefore we can conclude from this that imagery is a necessary element of this style. However, this concept is still much broader; most often in linguistic science the issue of imagery of a word is considered as a unit of language and speech, or, in other words, lexical imagery.

In this regard, imagery is considered as one of the connotative characteristics of a word, as the ability of a word to contain and reproduce in verbal communication the concrete sensory appearance (image) of an object, recorded in the minds of native speakers - a kind of visual or auditory representation.

In the work of N.A. Lukyanova “On semantics and types of expressive lexical units” contains a number of judgments about lexical imagery, which we fully share. Here are some of them (in our formulation):

1. Imagery is a semantic component that actualizes sensory associations (ideas) associated with a certain word, and through it with a specific object, phenomenon, called a given word.

2. Imagery can be motivated or unmotivated.

3. The linguistic (semantic) basis of motivated figurative expressive words is:

a) figurative associations that arise when comparing two ideas about real objects, phenomena - metaphorical imagery (boil - “to be in a state of strong indignation, anger”; dry - “to worry greatly, to care about someone, something”);

b) sound associations – (burn, grunt);

c) imagery of the internal form as a result of word-formation motivation (play up, star, shrink).

4. The linguistic basis of unmotivated imagery is created due to a number of factors: obscurity of the internal form of the word, individual figurative ideas, etc.

Thus, we can say that imagery is one of the most important structural and semantic properties of a word, which affects its semantics, valence, and emotional-expressive status. The processes of formation of verbal imagery are most directly and organically associated with the processes of metaphorization, that is, they serve as figurative and expressive means.

Imagery is “figurativeness and expressiveness,” that is, the functions of a linguistic unit in speech with the peculiarities of its structural organization and a certain environment, which reflects precisely the plane of expression.

The category of imagery, being a mandatory structural characteristic of each linguistic unit, covers all levels of reflection of the surrounding world. It is precisely because of this constant ability to potentially generate figurative dominants that it has become possible to talk about such qualities of speech as figurativeness and expressiveness.

They, in turn, are characterized precisely by the ability to create (or actualize linguistic figurative dominants) sensory images, their special representation and saturation with associations in consciousness. The true function of imagery is revealed only when turning to a real objective action - speech. Consequently, the reason for such qualities of speech as figurativeness and expressiveness lies in the system of language and can be detected at any of its levels, and this reason is imagery - a special inseparable structural characteristic of a linguistic unit, while the objectivity of the reflection of the representation and the activity of its construction can be studied only at the level of the functional implementation of a language unit. In particular, this can be vocabulary with a subject-specific meaning, as the main means of representation.