Main features of the artistic style of speech. Artistic style of speech

Literary and artistic style serves the artistic and aesthetic sphere of human activity. Artistic style is a functional style of speech that is used in fiction. A text in this style affects the imagination and feelings of the reader, conveys the thoughts and feelings of the author, uses all the richness of vocabulary, the possibilities of different styles, and is characterized by imagery, emotionality, and specificity of speech. The emotionality of an artistic style differs significantly from the emotionality of colloquial and journalistic styles. The emotionality of artistic speech performs an aesthetic function. Artistic style presupposes a preliminary selection of linguistic means; All language means are used to create images. A distinctive feature of the artistic style of speech can be called the use of special figures of speech, the so-called artistic tropes, which add color to the narrative and the power of depicting reality. The function of the message is combined with the function of aesthetic impact, the presence of imagery, a combination of the most diverse means of language, both general linguistic and individual author's, but the basis of this style is general literary language means. Characteristic features: the presence of homogeneous members of the sentence, complex sentences; epithets, comparisons, rich vocabulary.

Substyles and genres:

1) prosaic (epic): fairy tale, story, story, novel, essay, short story, sketch, feuilleton;

2) dramatic: tragedy, drama, comedy, farce, tragicomedy;

3) poetic (lyrics): song, ode, ballad, poem, elegy, poem: sonnet, triolet, quatrain.

Style-forming features:

1) figurative reflection of reality;

2) artistic and figurative concretization of the author’s intention (system of artistic images);

3) emotionality;

4) expressiveness, evaluativeness;

6) speech characteristics of characters (speech portraits).

General linguistic features of literary and artistic style:

1) a combination of linguistic means of all other functional styles;

2) subordination of the use of linguistic means in the system of images and the author’s intention, figurative thought;

3) fulfillment of an aesthetic function by linguistic means.

Linguistic means of artistic style:

1. Lexical means:

1) rejection of stereotyped words and expressions;

2) widespread use of words in a figurative meaning;

3) deliberate clash of different styles of vocabulary;

4) the use of vocabulary with a two-dimensional stylistic coloring;

5) the presence of emotionally charged words.

2. Phraseological means- conversational and bookish.

3. Word-forming means:

1) the use of various means and models of word formation;

4. Morphological means:

1) the use of word forms in which the category of concreteness is manifested;

2) frequency of verbs;

3) passivity of indefinite-personal forms of verbs, third-person forms;

4) insignificant use of neuter nouns compared to masculine and feminine nouns;

5) plural forms of abstract and real nouns;

6) widespread use of adjectives and adverbs.

5. Syntactic means:

1) use of the entire arsenal of syntactic means available in the language;

2) widespread use of stylistic figures.

8.Main features of conversational style.

Features of conversational style

Conversational style is a speech style that has the following characteristics:

used in conversations with familiar people in a relaxed atmosphere;

the task is to exchange impressions (communication);

the statement is usually relaxed, lively, free in the choice of words and expressions, it usually reveals the author’s attitude to the subject of speech and the interlocutor;

Characteristic linguistic means include: colloquial words and expressions, emotional and evaluative means, in particular with the suffixes - ochk-, - enk-. - ik-, - k-, - ovat-. - evat-, perfective verbs with the prefix for - with the meaning of the beginning of action, appeal;

incentive, interrogative, exclamatory sentences.

contrasts with book styles in general;

inherent function of communication;

forms a system that has its own characteristics in phonetics, phraseology, vocabulary, and syntax. For example: phraseology - escaping with the help of vodka and drugs is not fashionable these days. Vocabulary - high, hugging a computer, getting on the Internet.

Colloquial speech is a functional type of literary language. It performs the functions of communication and influence. Colloquial speech serves a sphere of communication that is characterized by informality of relations between participants and ease of communication. It is used in everyday situations, family settings, at informal meetings, meetings, informal anniversaries, celebrations, friendly feasts, meetings, during confidential conversations between colleagues, a boss and a subordinate, etc.

The topics of conversation are determined by the needs of communication. They can vary from narrow everyday ones to professional, industrial, moral and ethical, philosophical, etc.

An important feature of colloquial speech is its unpreparedness and spontaneity (Latin spontaneus - spontaneous). The speaker creates, creates his speech immediately “completely”. As researchers note, linguistic conversational features are often not realized and not recorded by consciousness. Therefore, often when native speakers are presented with their own colloquial utterances for normative assessment, they evaluate them as erroneous.

The next characteristic feature of colloquial speech: - the direct nature of the speech act, that is, it is realized only with the direct participation of speakers, regardless of the form in which it is realized - dialogical or monological. The activity of the participants is confirmed by statements, replicas, interjections, and simply sounds made.

The structure and content of conversational speech, the choice of verbal and non-verbal means of communication are greatly influenced by extralinguistic (extra-linguistic) factors: the personality of the addresser (speaker) and the addressee (listener), the degree of their acquaintance and proximity, background knowledge (the general stock of knowledge of the speakers), the speech situation (context of the utterance). For example, to the question “Well, how?” depending on the specific circumstances, the answers can be very different: “Five”, “Met”, “Got it”, “Lost”, “Unanimously”. Sometimes, instead of a verbal answer, it is enough to make a gesture with your hand, give your face the desired expression - and the interlocutor understands what your partner wanted to say. Thus, the extra-linguistic situation becomes an integral part of communication. Without knowledge of this situation, the meaning of the statement may be unclear. Gestures and facial expressions also play an important role in spoken language.

Colloquial speech is uncodified speech; the norms and rules of its functioning are not recorded in various kinds of dictionaries and grammars. She is not so strict in observing the norms of literary language. It actively uses forms that are classified in dictionaries as colloquial. “The litter does not discredit them,” writes the famous linguist M.P. Panov. “The litter warns: do not call a person with whom you are in strictly official relations a darling, do not offer to shove him somewhere, do not tell him that he is lanky and sometimes grumpy. In official papers, do not use the words look, to your heart's content, to your heart's content, penny wise, after all?

In this regard, colloquial speech is contrasted with codified book speech. Colloquial speech, like book speech, has oral and written forms. For example, a geologist writes an article for a special magazine about mineral deposits in Siberia. He uses bookish speech in writing. The scientist gives a report on this topic at an international conference. His speech is bookish, but his form is oral. After the conference, he writes a letter to a work colleague about his impressions. Text of the letter - colloquial speech, written form.

At home, with his family, the geologist tells how he spoke at the conference, which old friends he met, what they talked about, what gifts he brought. His speech is conversational, its form is oral.

Active study of spoken language began in the 60s. XX century. They began to analyze tape and manual recordings of relaxed, natural oral speech. Scientists have identified specific linguistic features of colloquial speech in phonetics, morphology, syntax, word formation, and vocabulary. For example, in the field of vocabulary, colloquial speech is characterized by a system of its own methods of nomination (naming): various types of contraction (evening - evening newspaper, motor - motor boat, enroll - in an educational institution); non-word combinations (Do you have something to write with? - pencil, pen, Give me something to cover myself with - blanket, rug, sheet); single-word derivative words with a transparent internal form (opener - can opener, rattle - motorcycle), etc. Colloquial words are highly expressive (porridge, okroshka - about confusion, jelly, sloppy - about a sluggish, characterless person).

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 figurative and expressive means in artistic style texts and their analysis

Functional characteristics of tropes and figures

Composing texts using reference expressions

Tasks for SRO

References:

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 speech culture. – 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: Publishing house of TSTU, 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, diving into the grass and riders emerging 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 camel's humps.

(I. Yesenberlin. Nomads.)

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

What sub-style 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?

Artistic style - concept, types of speech, genres

All researchers talk about the special position of the style of fiction in the system of styles of the Russian language. But its isolation in this general system is possible, because it arises from the same basis as other styles.

The field of activity of the style of fiction is art.

The “material” of fiction is the common language.

He depicts in words thoughts, feelings, concepts, nature, people, and their communication. Each word in an artistic text is subject not only to the rules of linguistics, it lives according to the laws of verbal art, in a system of rules and techniques for creating artistic images.

Form of speech - predominantly written; for texts intended to be read aloud, prior registration is required.

Fiction uses all types of speech equally: monologue, dialogue, polylogue.

Type of communication - public.

Genres of fiction known - thisnovel, story, sonnet, short story, fable, poem, comedy, tragedy, drama, etc.

all elements of the artistic system of a work are subordinated to the solution of aesthetic problems. The word in a literary text is a means of creating an image and conveying the artistic meaning of the work.

These texts use the entire variety of linguistic means that exist in the language (we have already talked about them): means of artistic expression, and both means of the literary language and phenomena outside the literary language can be used - dialects, jargon, means of other styles and etc. At the same time, the selection of linguistic means is subject to the artistic intention of the author.

For example, the character's surname can be a means of creating an image. This technique was widely used by writers of the 18th century, introducing “speaking surnames” into the text (Skotinins, Prostakova, Milon, etc.). To create an image, the author can, within the same text, use the possibilities of word ambiguity, homonyms, synonyms and other linguistic phenomena

(The one who, having sipped passion, only gulped down mud - M. Tsvetaeva).

Repetition of a word, which in scientific and official business styles emphasizes the accuracy of the text, in journalism serves as a means of enhancing impact, in artistic speech can underlie the text and create the artistic world of the author

(cf.: S. Yesenin’s poem “You are my Shagane, Shagane”).

The artistic means of literature are characterized by the ability to “increase meaning” (for example, with information), which makes it possible for different interpretations of literary texts, different assessments of it.

For example, critics and readers assessed many works of art differently:

• drama by A.N. Ostrovsky called “The Thunderstorm” “a ray of light in a dark kingdom,” seeing in its main character a symbol of the revival of Russian life;
• his contemporary saw in “The Thunderstorm” only “a drama in a family chicken coop”,
• modern researchers A. Genis and P. Weil, comparing the image of Katerina with the image of Flaubert’s Emma Bovary, saw many similarities and called “The Storm” “the tragedy of bourgeois life.”

There are many such examples: interpretation of the image of Shakespeare's Hamlet, Turgenev's, Dostoevsky's heroes.

The literary text has the author's originality - the author's style. These are the characteristic features of the language of the works of one author, consisting in the choice of heroes, compositional features of the text, the language of the heroes, and the speech features of the author’s text itself.

So, for example, for the style of L.N. Tolstoy is characterized by a technique that the famous literary critic V. Shklovsky called “detachment.” The purpose of this technique is to return the reader to a vivid perception of reality and expose evil. This technique, for example, is used by the writer in the scene of Natasha Rostova’s visit to the theater (“War and Peace”): at first, Natasha, exhausted by separation from Andrei Bolkonsky, perceives the theater as an artificial life, opposed to her, Natasha’s, feelings (cardboard scenery, aging actors), then, after meeting Helen, Natasha looks at the stage through her eyes.

Another feature of Tolstoy’s style is the constant division of the depicted object into simple constituent elements, which can manifest itself in the ranks of homogeneous members of a sentence; at the same time, such dismemberment is subordinated to a single idea. Tolstoy, fighting against the romantics, developed his own style and practically abandoned the use of figurative means of language.

In a literary text we also encounter the image of the author, which can be presented as an image - a storyteller or an image of a hero, a narrator.

This is a conventional image . The author ascribes to him, “transfers” the authorship of his work, which may contain information about the writer’s personality, facts of his life that do not correspond to the actual facts of the writer’s biography. By this he emphasizes the non-identity of the author of the work and his image in the work.

• actively participates in the lives of the heroes,
• included in the plot of the work,
• expresses his attitude to what is happening and characters

It influences the reader’s imagination and feelings, conveys the author’s thoughts and feelings, uses all the richness of vocabulary, the possibilities of different styles, and is characterized by imagery, emotionality, and specificity of speech.

The emotionality of an artistic style differs significantly from the emotionality of colloquial and journalistic styles. The emotionality of artistic speech performs an aesthetic function. Artistic style presupposes a preliminary selection of linguistic means; All language means are used to create images.

The artistic style is realized in the form of drama, prose and poetry, which are divided into corresponding genres (for example: tragedy, comedy, drama and other dramatic genres; novel, short story, story and other prose genres; poem, fable, poem, romance and other poetic genres ).

A distinctive feature of the artistic style of speech can be called the use of special figures of speech, the so-called artistic tropes, which add color to the narrative and the power of depicting reality.

The artistic style is individually variable, so many philologists deny its existence. But one cannot fail to take into account that the individual author’s features of the speech of a particular writer arise against the background of the general features of the artistic style.

In artistic style, everything is subordinated to the goal of creating an image in the perception of the text by readers. This goal is served not only by the writer’s use of the most necessary, most precise words, due to which the artistic style is characterized by the highest index of vocabulary diversity, not only by the widespread use of the expressive capabilities of the language (figurative meanings of words, updating of metaphors, phraseological units, comparison, personification, etc. .), but also a special selection of any figuratively significant elements of the language: phonemes and letters, grammatical forms, syntactic structures. They create background impressions and a certain imaginative mood in readers.

Artistic style finds application in fiction, which performs a figurative-cognitive and ideological-aesthetic function.

Typical for an artistic style of speech attention to the particular and random, followed by the typical and general. Remember “Dead Souls” by N.V. Gogol, where each of the shown landowners personified certain specific human qualities, expressed a certain type, and all together they were the “face” of the author’s contemporary Russia.

The world of fiction - this is a “recreated” world, the depicted reality is, to a certain extent, the author’s fiction, which means that in the artistic style of speech the subjective moment plays the most important role. 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, condemnations, admiration, rejection, etc. This is associated with emotionality and expressiveness, metaphor, and meaningful diversity of the artistic style of speech.

The basis of the artistic style of speech is the literary Russian language. The word performs a nominative-figurative function.

The lexical composition in the artistic style of speech has its own characteristics. The number of words that form the basis and create the imagery of this style 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.

It is very widely used in the artistic style of speech the speech polysemy of a word, revealing its meanings and shades of meaning, as well as synonymy at all linguistic levels, thanks to which it becomes 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.

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 are complementary to each other.

For artistic speech, especially poetic, it is characterized by inversion, i.e. changing the usual order of words in a sentence in order to enhance the semantic significance of the word or give the entire phrase a special stylistic coloring.

Syntactic structure of literary speech reflects the flow of the author’s figurative and emotional impressions, 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.

In artistic speech it is possible and deviations from structural norms in order for the author to highlight some thought or feature that is important for the meaning of the work. They can be expressed in violation of phonetic, lexical, morphological and other norms.

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.”(Star. 1998. No. 1).

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. Simple, rude people surrounding the boy (Bindyuzhnik– the colloquial name for a port loader), the hard work that he has seen since 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. Prishvin, V. A. Astafiev, and in “The Queen of Spades” by A. S. Pushkin many words from the card game vocabulary etc.

In the artistic style of speech, the verbal polysemy of a word is very widely used, which opens up additional meanings and shades of meaning, as well as synonymy at all linguistic levels, which makes 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's give a small example:

“At Evdokimov’s tavern it’s alreadywere about to gather turn off the lamps when the scandal began. The scandal started like this.First everything looked nice in the hall, and even the tavern floor guard Potap told the owner that,they say, now God has 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 was lazily amazed, - here,Potapka, your evil eye, damn it! Well, you should have croaked, damn it!” (Okudzhava B. The Adventures of Shilov).

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, that is, a change in the usual word order 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 subordinated to the general concept.

The syntactic structure of literary 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 unsettledness and “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, everything went from bad to worse, 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 Iago and Othello and watched with mockery from around the corner as 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 roughly translate those obscene, desperate monologues that the former agronomist, and now a researcher, Mila’s husband, shouted on the streets at night, and in his apartment, and when drunk, so Mila hid somewhere with her young daughter, found shelter, and the unfortunate husband smashed furniture and threw iron pans,”

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

In artistic speech, deviations from structural norms are also possible, due to artistic actualization, that is, 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:

"Oh, Cute, - 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?? Bring him here, waking him up. Well, Mr. Student, how do you rent this tavern? It's dirty and you think I like him?... I've been to real restaurants, sir, I know.... Pure Empire, sir... But you can’t talk to people there, but here I can find out something” (Okudzhava B. The Adventures of Shilov).

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

References:

1. Azarova, E.V. Russian language: Textbook. allowance / E.V. Azarova, M.N. Nikonova. – Omsk: Omsk State Technical University Publishing House, 2005. – 80 p.

2. Golub, I.B. Russian language and speech culture: Textbook. allowance / I.B. Blue – M.: Logos, 2002. – 432 p.

3. Culture of Russian speech: Textbook for universities / ed. prof. OK. Graudina and prof. E.N. Shiryaeva. – M.: NORMA-INFRA, 2005. – 549 p.

4. Nikonova, M.N. Russian language and culture of speech: A textbook for non-philological students / M.N. Nikonova. – Omsk: Omsk State Technical University Publishing House, 2003. – 80 p.

5. Russian language and speech culture: Textbook. / edited by prof. V.I. Maksimova. – M.: Gardariki, 2008. – 408 p.

6. Russian language and speech culture: Textbook for technical universities / ed. V.I. Maksimova, A.V. Golubeva. – M.: Higher Education, 2008. – 356 p.