Professionalisms– these are special words used in everyday life of professionals. Professionalisms are “unofficial” names of special phenomena and concepts of the profession; they constitute professional jargon.
An important difference between professionalisms and terms is that professionalisms are relevant primarily in the colloquial speech of people of a particular profession, sometimes being a kind of unofficial synonyms of special names. Often they are reflected in dictionaries, but always with the mark “professional”. Unlike terms - the official scientific names of special concepts, professionalisms function primarily in oral speech as “semi-official” words that do not have a strictly scientific character. These words form a lexical layer, which is also sometimes called professional slang or professional jargon.
For example, in the editorial offices of newspapers and magazines, a specialist involved in the selection of illustrations is called build editor. Build editor is a term. However, in the actual production process it is most often called for short build– this is professionalism, professional jargon. Build trampled all the photos according to the layout– undoubtedly, this sentence uses professionalisms, but not terms (With terms, the same phrase would sound more cumbersome. In addition, terms often have a foreign language origin and are difficult to pronounce, which also does not contribute to their use in business conversation. By the way, this is why Professionalisms often become reduced terms: build editor – build, calipers(special measuring ruler) – barbell etc.).
Professionalism simplifies speech and makes it more suitable for quick everyday support of production processes.
Professionalisms, like terms, can be grouped according to the area of their use: in the speech of economists, financiers, athletes, miners, doctors, hunters, fishermen, etc. A special group includes technicalisms - highly specialized names used in the field of technology.
Professionalisms most often serve to designate various production processes, production tools, raw materials, manufactured products, etc. In other words, they designate phenomena for which the use of terms, although possible, is cumbersome and unprincipled. In addition, professionalism is often the result of creative rethinking, “mastering” a highly specialized phenomenon. These are the words spare tire(spare tire for car mechanics and drivers), corral(spare texts prepared by newspaper editors), paws And herringbone(types of quotation marks used by proofreaders and printers). Such professionalisms, easily and in their own way replacing terms, make special speech more lively, simple and mastered, easier for quick use and understanding.
For example, the following professionalisms are used in the speech of printers: ending– graphic decoration at the end of the book, clogged font– worn out, worn-out font due to outdated linotype printing, etc. Journalists prepare the future text, called a draft fish or dog. Engineers jokingly call it a self-recording device sneaker. In the speech of pilots there are words underdose,peremaz, meaning undershoot and overshoot of the landing mark, as well as: bubble, sausage– balloon, give the goat– landing the plane hard, causing it to bounce after touching the ground, etc. Many of these professionalisms have an evaluative or understated tone.
In the professional speech of actors, they use a complex abbreviated name chief manager; in the colloquial speech of builders and repairmen, the professional name for major repairs is used capital; specialists who build and maintain computer systems in companies are system administrators. On fishing boats, workers who gut fish (usually by hand) are called shkershchiki. Bankers in a conversation among themselves instead of the term car loans use the word car loans, officials call housing and communal services communal apartment, and the social sphere - social media etc.
Many professional words have entered into wide business and colloquial use: give out on the mountain, storming, turnover etc.
Professional vocabulary is indispensable for the laconic and precise expression of thoughts in special texts intended for a trained reader or listener. However, the information content of highly professional names decreases if a non-specialist encounters them. Therefore, professionalism is appropriate, say, in large-circulation industry (departmental) newspapers and is not justified in publications aimed at a wide readership.
Professionalisms, being predominantly words for colloquial use, often have a reduced stylistic connotation, being, in fact, slang words. This should also be taken into account when using professionalisms in an official situation or in official publications. They may not only be incomprehensible outside a professional audience, but also sound risky for the reputation of the person using them.
On the other hand, skillful use of professional jargon can even add richness and flavor to official speech, and help demonstrate knowledge of the subject characteristic of a professional who has regular and direct contact with the work environment. A top manager of one large oil company, a professor and doctor of sciences, said that when you go on a business trip to the north, then you should never talk at the rig production– Oil workers simply won’t talk to you. It is imperative to speak like them: to Mining. Then you are a person from the industry, and they recognize you as one of their own. Thus, the manager deliberately deviates from the accentological (sometimes lexical) norms of the Russian language in order to speak the same language as specialists.
Home > LessonProfessional words. Words, the use of which is characteristic of people of certain professions, having the scope of their use in any branch of science or technology, constitute professional vocabulary. It is born in oral speech and stands out for its expressiveness and expressiveness due to its metaphorical nature. The lexical meanings of professionalisms are distinguished by a certain randomness of sound coincidence with commonly used words. So, for example, the commonly used word branch means “a small side shoot of a tree or shrub” (direct meaning). And in the language of the Tula samovar craft - “an artistically designed upper part of the samovar tap.” The Tula region, the region of crafts, is the birthplace of a huge number of professionalisms. Let's look at some of them. Examples of professionalism that appeared in Tula as a result of the samovar craft. The branch is the upper part of the samovar tap, artistically decorated. Presser - a worker who makes lids for a samovar on a pressing machine. Dushnichek is a part on the lid of the samovar for passing steam during boiling. Plug - a cap for closing a samovar jug. Kobylina is a device for forging the wall of a samovar body. A jug is an inner pipe in a samovar into which coals are placed. Tinker - a worker who coats the inner walls of a samovar with tin. Samovar with a jar - having a cylindrical shape. Samovar vase - in the form of vases of various styles. Duley samovar - made in a pear shape. Samovar with a glass - shaped like a glass. The wall is the main part of the samovar, where water is poured for boiling. To shake is to finish the samovar. The neck is the lower part of the samovar with holes. Grip cones are devices for removing the lid from a samovar. In some cases, professionalisms can be used as official terms (a term is a word or phrase, the name of a specific concept of some special field of science, art technology), that is, they become generally used, and their expressiveness is somewhat erased. This happened with words serving the weapon craft. A drum is a device for automatically feeding bullets in a revolver in the form of a rotating cylinder. The barrel is the exit hole of the bore of a firearm, as well as the barrel itself. A lock is a structure for connecting moving parts of a weapon. The hammer is part of the firing mechanism in a handgun. Stock (stock) - an elongated part of a handgun on which the barrel is mounted. The magazine is the device that holds the clip. The front sight is a small protrusion on the front of the barrel of a small weapon that serves for aiming. A clip is a device for holding cartridges in the magazine box of a firearm. The butt is a part of a shotgun, machine gun, or machine gun that serves to rest on the shooter’s shoulder. A sight (rear sight) is a device for aiming a firearm at a target. The barrel is the main part in the form of a pipe through which a bullet or projectile passes, receiving the direction of flight. It is characteristic that some of the listed terms have a direct lexical meaning (for example, trigger, clip); portable (drum, magazine, front sight); are homonyms (bed, barrel), which indicates the mobility of the Russian language and some encoding of professional words. Although professional vocabulary has a limited scope of use, there is a constant connection between it and the vocabulary of the entire people, enriching the Russian literary language. Professionalisms are also often used in fiction for a more accurate description of production processes, for recreating the situation, for the speech characteristics of the characters, which makes the work realistic. Let's look at jargon in the Tula dialect. Social jargon is the speech of people who make up separate social interest groups (for example, students, car enthusiasts, fans, etc.), which does not represent a holistic system. The grammar in jargons is the same as in the national language. Their specificity lies in the vocabulary: many words in jargon have a special, different meaning. Let's look at some examples of student jargon. Glue your fins together and you die. To fade away is to leave unnoticed. Not catching up means not understanding. Light up - have fun. Drive away - take a break. Panicle is a girl. The roof went crazy - I went crazy. Raccoons are dollars. Loot is money. Bullshit is nonsense. Tula students come up with new lexical meanings for already familiar words in order to be incomprehensible representatives of another social group. Or new words appear with new meanings, many of which come from the language of the criminal world. Research has shown that slang words are spreading among the entire population of Tula due to their specific originality and unusualness. In addition, in newspapers, on radio and television, “pure” literary language is gradually disappearing and the younger generation does not have a correct speech example. If we turn to the history of the development of the language of Tula in the 19th century, we can highlight an interesting phenomenon: the business language of small traders, which also had a kind of secrecy. It was passed down from generation to generation and gradually became not only business and trading, but also colloquial. Examples of the business language of small traders in Tula from the 19th - early 20th centuries. Gray is a horse. Offal - cow. The mumbling is a sheep. Mumbling - to the ram. Balzik is a dog. Balavas - meat. Albuznik - oats. Terman - tea. Akrel - bread. These words refer to items of sale and purchase, with the help of which merchants, in the presence of buyers, agreed on more favorable terms of the transaction. Trifilka - a penny. Vereshnik - ten kopecks. Lameshnik - fifty dollars. Khrushchevik, Kalo - ruble. To earn money is to earn money, literally “to chase the ruble.” One is Kaldin. Two are bakrs. Three - stirrup. It is interesting to note that some words meaning monetary units have sound and semantic similarities with words in the Turkish language. The secret language helped Tula merchants reduce purchase prices at fairs and support each other in buying and selling. But this language did not take root in modern society, since significant socio-economic changes took place in the country (the Great October Socialist Revolution), especially since dialect features were erased under the influence of the general growth in the cultural level of the population. This is an inevitable, albeit lengthy, historical process. Some lexical elements, which in the past penetrated from social jargons into the national vocabulary, are preserved in it now, somewhat modified. For example, in modern language the word double-dealer means “a dishonest person,” and in the beggarly jargon of Tula vagabonds it meant someone who collected alms with both hands. However, in general, jargons have a limited scope of use: either they are used in “their” social environment, or in works of art in order to stylize the setting and speech characteristics of the hero. Vernacular- another variety of the popular Russian language. This is the speech of the urban, poorly educated population who do not know or do not want to know the norms of the literary language. The vernacular developed as a result of the mixing of different dialectal speech in the city, where people from rural areas have long moved in search of work. In the speech of the townspeople of Tula you can hear the following vernaculars, which need to be gotten rid of: theirs; glasses; twenty to twenty; ruble; life; defki; fight; want; piano; in a hurry; she has a whole day and many others. An interesting factor in human communication, as well as a type of colloquial vocabulary, are nicknames. A name is assigned to a person at birth. A surname is an inherited family name that passes from generation to generation. But where do nicknames come from? What pushes people to give each other non-standard names? Nicknames represent a huge layer of informative vocabulary; they reflect the history, ethnography, geography of the people, their way of life and customs. With the help of new names, a person is immediately isolated from the general mass, highlighting a characteristic feature in him, thanks to which he becomes instantly recognizable. Consider examples of nicknames found in Tula and the Tula region of the 19th century. By external characteristics: elm (tall), snub-nosed, kornoka (short; according to V.I. Dahl’s dictionary, kornoka - squat), etc. By character trait: aboyda (poor), golanka (cheat; according to Dahl, golanit - to cheat), kerka (hoarse; according to Dahl, kerkat - to make a hoarse sound), etc. By occupation: jew's harp (noisy, according to Dahl, to harp - to make noise, to do something with a knock), etc. It is also interesting that, having appeared in the language of the people; first in Tula, and then in Russia, surnames that arose on the basis of Tula crafts took hold. Unfortunately, there are few of them, but they reflect the life, culture, and history of our city. These are the officially registered surnames: Tulyakov, Pryanikov, Dulnev, Samovarov, Shtykov, Kurkov, Stvolov. In this work, we looked at examples of varieties of the language of the city of Tula, V which reflected the socio-cultural characteristics of the area. We saw that Tula vocabulary sensitively responds to changes in external, extra-linguistic reality (in the material and cultural life of the city, in the social structure, in relations between people), replenishing the literary language, which absorbs all the best, all the most expressive means, inherent in folk speech. The modern Russian literary language, which represents an established communicative system, continues to draw expressive means - words, phrases, syntactic structures - from dialects, vernaculars, professional words and jargons, including Tula dialects. In this process, the norm plays the role of a filter: it lets into literary use everything valuable that is in living speech, and retains everything that is accidental and temporary. Every Russian person should communicate in the Russian literary language. 4. CULTURE OF SPEECH. PHONETIC AND GRAMMATICAL FEATURES OF THE TULA DIAL. Speech culture is, first of all, mastery of the norms of oral and written literary language (rules of pronunciation, stress, word usage, grammar and stylistics), as well as the ability to use expressive means of language in various communication conditions in accordance with the purposes and content of speech. Literary language is the main form of existence of a language, which, in its cultural and social status, is opposed to territorial dialects. The Russian literary language, and in particular pronunciation, developed over a long period of time. Before the formation of the national language in the 17th century, dialect varieties were widespread in different territories, spoken by the entire population of the feudal lands, regardless of social class. A dialect is a variety of a given language used as a means of communication by persons connected by a close territorial community. The Russian language has the following division into dialects: northern dialect; southern dialect, which includes the Tula dialect group; Central Russian dialects. The linguistic features of the Tula region, formed under the influence of historical development, are included in literary speech as deviations from the norm and belong to the southern Russian dialects, which are widespread south of Moscow, in the territories of Kaluga, Tula, Oryol, Tambov, Voronezh and some other regions. Dialects reflect the ancient state of the Russian language. Their study is extremely important: it helps to establish the features by which the Old Russian language differed from the modern one, to trace the various stages and phases of the development of the Russian language.
PHONETIC FEATURES OF THE LANGUAGE OF THE TULA REGION. VOWEL SOUNDS.
1. The presence of five phonemes - [a, o, y, e, and], the absence of the phoneme [s] in speech. 2. Akanye - non-distinction between [o] and [a] in unstressed syllables: vada, v'dovoz (these unstressed syllables are also pronounced in the literary language). 3. Moderate yak in the pre-stressed syllable after soft consonants: river - ryaka, fox - lyasa. CONSONANT SOUNDS. 1. Pronunciation of [g] is not plosive (as in the literary language), but fricative, or fricative [y]: legs - noui, mountains - uory. 2. Instead of hard [k] in the position after C], denoting the letter and, and after [h] - soft [k 1]: chaika - chaikyu, daughter - daughter. 3. It is possible to alternate [v] with a similar sound [ou]: cow - karou "ka. 4. There is an insertion (prosthesis) of the sound [v] before the initial [o] and [y]: autumn - vosin, duck - vutka. 5 Long hissing phonemes are preserved: pike - schchuka, I go - ezhu, better - lucci 6. A clear contrast of labial consonants ([r, b, p, m, v, f,]) in terms of hardness and softness at the end of the word: house -. seven, pop - dove, gatof (ready) - gatof (cook). 7. Only soft combinations of dental consonants (z, s, d, t]) at the end of the word are simplified: guest - gos, nail - nail 8. Use [. m] instead of [v] before [n]: long ago - damno 9. Using the sound combination [хв] instead of [f]: sundress - sarakhvan, jacket - kokhta 10. Pronouncing a voiced hissing consonant instead of a dull one: rain - rain.
PHONETIC FEATURES OF THE TULA DIAL, SHOWN BY THE EXAMPLE OF RUSSIAN FOLK SONGS.
ROUND DANCE (excerpt). Zainka hung, karakhot (round dance) little one! Karahot, give away, share, share, Zainka belinky. GREAT (excerpt). The clear sun has set behind the forest. Laheyushka from the dvara said, Mother with the automatic transmission pressed her to the right.
MORPHOLOGICAL FEATURES OF THE LANGUAGE OF THE TULA REGION.
1. Nouns of the 1st declension in the genitive case have the endings -e or -i in combination with the preposition y: u wife, u mami. 2. Neuter nouns show a tendency to move closer to the feminine gender both in forms of agreement (my ring, a large herd has passed) and in forms of inflection (left without a dress, put on this dress). 3. Neuter nouns in the nominative case in the plural have an unstressed ending -and(s): windows, stains. 4. Pronouns of the 1st and 2nd letters. and the reflexive pronoun have a single base in the genitive, dative, accusative and prepositional cases (men-, you-, seb-) and a single ending -e: mine, taba, sibe. 5. At the end of verbs of the 1st conjugation and in heterogeneously conjugated verbs in the 3rd person, [t] may be absent: he goes - going, walks - go (or walking), will become - standing, will be - waking up, will disappear - having disappeared. 6. The unstressed ending of verbs in the 3rd person plural form is not -ut(-yut), -at(-yat), but -ut(-yut): they hodyut - walk, vidyut - see, become - will become. 7. In verbs with a base on the back-lingual hard consonant [k], the alternation process does not occur: bake - bake (bakes), coast - takes care (takes care). 8. The suffix (or ending) of the infinitive, as a rule, has a non-syllabic form: revenge - revenge, weave - weave. 9. Postfix of reflexive verbs predominantly-si: afraid - afraid, afraid - boyish, afraid - afraid. 10. There are adverbial forms with the suffix -mshi: nespamshi. 11. The prefix v-is being replaced with the prefix u-: taken and taken.
EXAMPLES OF MORPHOLOGICAL FEATURES OF THE TULA DIAL, RECORDED FROM THE WORDS OF RESIDENTS
TOOLS.
1. We lived in vain and never saw an acre of the chopping block. They mowed them with hooks, they beat them on rivers with rollers, they hit them with diryushki, they forced raw vans on holidays, now the white ones wear a headscarf, and then they raped the red ones, their lives have become humble, now the penzis and dust radiate the vakhvabrik nets. 2. We went to vicherki. They danced, played, told fortunes, told fortunes about holy water, told fortunes about glasses, put rings on the walls, and looked around to see who came out. Oh! Sent it out! Afankya! Now let's go throw our bast shoes on the roof where we lay our noses, and the kids will see behind us and the fairy will take our bast shoes. They took the norm, but what impudence they had, grabbing someone in a hurry and asking. This work presents the features of the dialect of Tula and the region, but every student should strive to improve their speech, focusing on the Russian literary language. An orthoepic dictionary (orthoepy is the science of pronunciation norms) can provide invaluable assistance, the task of which is to give correct, recommended methods of pronunciation and form formation, indicate the options allowed by the norm (including stylistically marked ones) and prohibit the most common errors that abound in the speech of residents of Tula areas.
5. LANGUAGE PRESS.
SPEECH STYLES. PUBLIC STYLE,
Press language is a type of journalistic style, which is inherent primarily in the media and is implemented in the form of a journalistic article, essay, speech, pamphlet, feuilleton, and so on. The purpose of this style is to influence listeners and readers through newspapers and magazines to form public opinion on a particular issue. The combination of two functions of language - informational and propaganda - distinguishes the journalistic style from the scientific and official business style, which determines the main linguistic-stylistic property of texts: the combination of expressive, stylistically colored means and neutral means. The propaganda orientation of the journalistic style is expressed in the use of expressive-evaluative vocabulary and phraseology; in orientation to modern meanings and the novelty of metaphors, figurative comparisons; in the simplicity and accessibility of the syntax. The information function is embodied in such style features as emphasized documentary accuracy of what is reported; formality, expressed in the use of scientific, official business and socio-political terminology. The genres of journalistic style are characterized by brevity, reliability, and novelty of information. The topics discussed should be relevant and interesting to the majority of readers. But this style should always focus on the Russian literary language, which constantly undergoes various linguistic modifications associated with socio-political processes leading to changes in the country’s way of life. An attempt to analyze the language of modern Tula newspapers revealed that it is also undergoing changes. In recent years, there has been a significant increase in the amount of evaluative vocabulary (even vulgar and obscene) in the speech of citizens, and therefore in the press. This is due to an increase in verbal aggressiveness, which is dictated by the increased freedom of behavior and freedom of speech in society. Previously forbidden phrases are perceived by modern Tula journalists as normative. The jargon of the language of our city's newspapers is also noted. Slang vocabulary generally expands the scope of functioning, move on to colloquial vocabulary. The desire for originality leads to the frequent use of emotionally expressive expressions, for example: chop a chip, crush a lyba, nakhalyavu, muzon khavala, and so on, although these slang expressions belong to the category of reduced vocabulary. Slang inclusions in the speech of the press are an unjustified desire of a journalist to stand out, instantly attract attention to an article, and earn a “cheap” reputation as a person who keeps up with the times. Examples of jargon usage V newspaper "Sloboda". “I noticed that the cupcake stood up on a skateboard and couldn’t figure out what the market was about...” (“Sloboda” No. 2, 2000). “It seems like everything turned out okay,” I thought, throwing my bitten fins onto the floor...” (“Sloboda No. 2, 2000”). “I’ve been able to use a hairdryer since childhood...” (“Sloboda” No. 43, 2001). “A friend claims that moths make the best wives...” (“Sloboda” No. 43, 2001). The layer of interstyle vocabulary in the language of the Tula press is also intensively expanding due to the inclusion of bookish and colloquial figures of speech. There is also active borrowing from other languages, for example: corridors of power, hotline, White House, shock therapy, pirate business, Big Seven, etc. This phenomenon is associated with the desire to give the material unusualness and novelty. Publicistic speech has become less standard in form and content, and speech errors have appeared. This indicates either a decline in the level of philological training of journalists, or a deliberate disregard for the relevant rules. Thus, the speech culture of not only journalists, but also readers is deteriorating. This is especially evident in the so-called “yellow press”. The language of the press has always been the standard of Russian speech. The literary norm “stood guard” of the integrity and general intelligibility of the language. It is all the more offensive to note that the Tula media impose reduced and slang vocabulary, depriving readers of the opportunity to enjoy the beauty of the inexhaustibly rich, amazingly picturesque Russian language, which has always been a source of pride for our people.
6. LINGUISTIC ANALYSIS OF THE LANGUAGE OF FICTION WORKS OF LOCAL AUTHORS.
FEATURES OF ANALYSIS OF LYRIC TEXT.
1. Tell briefly about the author, the history of the creation of the work, if there is relevant information. 2. Determine the theme of the lyrical text, convey the feelings and thoughts of the lyrical hero, attitude towards life and people. 3. Characterize the artistic and linguistic originality (the use of epithets, comparisons, metaphors, stylistic figures, etc.) 4. Comment on the peculiarities of the construction of the poem, its composition in connection with the ideological and figurative content. 5. Determine the rhythmic organization, sound design of the work, features of rhymes. 6. Reveal the unity, interaction of different components of the lyrical text, its idea. 7. Express the feelings caused by reading the poem. VLADIMIR SAPRONOV Spring came both above and below: sometimes with the first bud, sometimes with the early rook. Above each cornice the air was pierced with a gold-bearing and sharp ray! Through the birch trees there was a chill in the alley. Under the melted manure there was a draft from the fields. Icicles fell off. A stream gurgled intermittently, like a stream falling into the throat of a bottle. And the spruce trees hummed like masts from the wind. Near the hut it sparkled, having thawed slightly. The willows ruffled their feathers. The snow trembled lightly and deathly, as if in fish scales. And in this frantic thirst for movement, in the fading shine of the last snows, the longing for blossom grew like a groan and shook everything to the very foundations! The poem “Spring came both above and below...” was written by Vladimir Sapronov, who was born in the village of Akimo-Ilyinka, Uzlovsky district, Tula region. This work, according to literary critic V. Kozhin, is a poetic confession of love for his native land, for the highest values of existence. The theme of the poem is the arrival of spring: “Spring came and on horseback I and below..." An ordinary natural phenomenon that repeats every year, but again and again enchanting everyone who is able to see beauty, empathize, be surprised by the first bud, the early rooks, the gold-bearing ray of the sun, everything that “shocks to the very foundations.” Nature lives in the work of Vladimir Sapronov, it is magnificent at the moment of awakening. Let the “through-the-birch trees shiver in the alley,” the snow “shake lightly and deathly,” and the spruce trees hum “like masts from the wind.” But all these are signs of renewal of life, “a frantic thirst for movement”, “longing for blossoming”, shaking to the very foundations. The poem is full of colors, sounds, and smells of spring. We feel the air permeated with the sun; We hear the ringing of a torn icicle and the intermittent gurgle of a stream, we see ruffled willows, the fading shine of the last snows. There is grace ahead! The poet achieves such unusual imagery with the help of artistic means of language. The work contains many epithets (“early rooks”, “gold-bearing and sharp ray”, “through birches”), comparisons (“a stream gurgled intermittently, like a bottle caught in the throat”, “the fir trees hummed like masts from the wind”, the snow trembled , “like fish scales,” the longing for bloom grew like a groan), personifications (“spring was coming, the birch trees were shivering, the willows were ruffled, the snow was trembling”). The metaphorical images are beautiful: “spring came both above and below: now with the first bud, now with the early rook,” “and in this frantic thirst for movement, in the fading shine of the last snows, the longing for bloom grew like a groan and shook everything to the very foundations!” An interesting combination of words that are contrasting in meaning - the snow trembled light and dying, making them contextual synonyms (a stylistic figure is an oxymoron). With the help of synecdoche (synecdoche is the transfer of the meaning of one word to another based on the replacement of quantitative relations, here - part instead of the whole) - “first bud”, “early rook” - the author shows the levels of the onset of spring “both above and below”. Using periphrasis (a descriptive figure of speech) and avoiding repetition, the poet calls spring “longing for bloom.” Along with common vocabulary, V. Sapronov uses the capacious dialect word “slightly” - thick pole, timber. The sound design in the poem also influences the creation of the image. Thanks to the intensification of vowels (technique - assonance), the reader hears, for example, in the third stanza the lingering howl of the wind in the treetops, and the repeated use of consonant sounds p, l in the second stanza he makes him feel the state of chill of the birches. The melody of the verse changes: the first and last stanzas are pronounced with an exclamatory intonation to show the power of influence of a given state of nature on the environment, including the lyrical hero. The author uses inversions (reverse word order), polyunion, thereby conveying the excited state of a person who understands the significance of what is happening. And the impersonal sentences in the second stanza speak of the inevitability of what is happening. Although the lyrical text mainly consists of sentences that are simple in structure, because beauty is always simple. The poem is divided into four eight-line stanzas, in each of which the poet highlights words that, in his opinion, are especially significant in separate lines. This method is called “transfer in verse,” when the sentence, as intended by the author, does not fit into the poetic line and occupies the following, which gives expressiveness to the speech. The technique of “blank verse” - an unrhymed line among rhymed ones - helps to focus attention on the main thing. The reader has to independently reconstruct the structure of the poem in order to see the cross rhyme. Poetic meter is amphibrachic (technical meter with stress on 2.5, 8.11, etc. syllables). The power of influence of V. Sapronov’s poem is enormous. Spring is the anthem of a new life, when a person’s perception of the world becomes more acute, one wants to create, love, accomplish feats, and be reborn spiritually. The rich inner world of the poet makes this lyrical work bright and unique, where every word carries a semantic and emotional load. FEATURES OF ANALYSIS OF AN EPIC WORK. 1. Tell briefly about the author, the history of the creation of the work, if there is relevant information. 2. Determine the place of the passage in the work, its connection with the composition of the work, its ideological and figurative content. 3. Identify the theme, idea, signs of genre, literary style, type of speech, author’s features. 4. Comment on artistic details, visual and expressive means. 5. Express the feelings caused by reading the passage. "LEGENDS ABOUT MASTER POKE". EXCERPT. Let them say that they give gifts for silence, but without a tongue the bell becomes mute. Why does the world need him then? However, excessive blathering leads to clanging. And we, the Kuznetsk-Slobodsky people, are thrifty people, we try to keep every word of our grazing in our cheeks. So forgive me if my parable is shorter than a bird’s nose and does not turn out as well and smartly as that of the Rogozhin Sloboda residents, who learn science every day at the bazaar and eat printed snacks. We are illiterate people, from ancient times we are content with unwritten gingerbread, we go to the market only on holidays. And we live simply: we ourselves ride on mares, wives on cows, children on calves, servants on dogs, cats on baskets. But we try to think like a carpenter with an ax and a scribbler with a pen. Every morning we wake up with the thought-dream of how to shoe a mosquito on the fly and become more skillful than Poker. And he had such a grip: no matter what he does, it’s as if he writes it on damask steel, and you can’t erase his name. Not to mention the fact that he knew how to thresh rye on the butt of an ax and not drop a single grain. One day he brought to our workshop a small cube made of the strongest steel. The cube was like a cube, well, about one cubic centimeter in size. But all its sides were so polished - you can look at them. Draw a ruler across its squares with the straightness of a sunbeam - and you won’t see a gap. He gave this cube to us. We turned it over and over in our hands, what could we say? It was made as the Tula God himself could do it - according to the solar ruler. -Did you notice anything in this cube? - Tychka asked us. We just shrugged our shoulders. And he pressed on one of its corners, and the cube disintegrated into another hundred cubes. He again gave all this cereal to us. No matter how hard we tried to put them back together, we couldn’t. And Tychka shook the tiny cubes between his palms, and they stuck together again. We all looked at this cube like geese at the glow, and were afraid to cackle in surprise. It doesn't seem like a big thing, but it's a bit wasteful. But it always seems to us that if we need to do something big, we need a larger area. But no, it turns out that even in the smallest area you can do more than anything else. And we also forget that, in addition to the idea, every creative person needs that courage, which, it seems, none of us have had before. This, probably, is the secret of mastery, and this is probably why we still cannot shoe a mosquito on the fly. Ivan Fedorovich Pankin (1921 -1998) - prose writer. Born in the village of Pylkovo, Lopatinsky district, Penza region. In early childhood he became an orphan, a homeless child, worked in a circus, and was a cabin boy in the navy. During the Great Patriotic War he fought for his homeland. He began to write and was accepted into the Literary Institute. A.M. Gorky. Since 1961, Pankin lived in Tula, finding a small homeland in it. Here he received a calling, became an Honorary Citizen of the city, an Honored Worker of Culture. With his creativity, he managed to glorify the Tula gunsmith, to see him through the eyes of a contemporary. “Legends of Master Tychka” is a collection of miniatures united by the image of the main character - Tychka, each of which is perceived as a separate work, although some stories are “smaller than a palm” in volume. As the narrator, the author chose a fictional character - the daring Tula master Yves, Ivan Fedorovich. “Legends...” are written in folklore traditions. They contain a lot of sparkling jokes, proverbs, and sayings that reflect folk wisdom and recreate the vernacular language of Tula gunsmiths. Tychka - the literary hero of Ivan Pankin's legends, the exponent of the writer's ideas - is close to us, lives today in every Tula craftsman, continuing and multiplying the traditions and glory of his great predecessors. According to the writer V. Astafiev, I. Pankin created the image of a weapons miracle worker, whom both Tula residents and all readers perceive as genuine, really existing. The analyzed passage is a parable - a short story, “shorter than a bird’s nose,” containing teaching in an allegorical, allegorical form. It begins with the beginning (a stable formula) - a mandatory attribute of a folklore work, which contains the idea of the value of silence (“gifts are given for silence”) and clever words (“excessive blathering leads to blurting”). The author comes up with sayings, proverbs and jokes that help to understand the essence of the Russian people, their age-old wisdom: laconicism (“And we, the Kuznetsk-Slobodskys, are an economical people, we try to keep every word we eat behind our cheeks”); mind (“But we try to think like a carpenter with an ax and a scribbler with a pen”); hard work (“Every morning we wake up with the thought-dream of how to shoe a mosquito on the fly...”); skill (Tychka “... he can’t do anything - it’s like he’ll write it on damask steel, and you can’t erase his name... he knew how to thresh rye on the butt of an ax and not drop a single grain”). The image of gunsmiths is built on the basis of an antithesis (opposition): these are illiterate people, from ancient times they are content with unwritten gingerbread (not with text, but with images of animals, symbols), people go to the market only on holidays (no extra money) They live simply, but can create miracles. Joking about ourselves (“we ourselves ride on mares, wives on cows, children on calves, servants on dogs, cats on baskets”) helps to maintain dignity even in poverty, because the artisan does not have a large farm or servants. In this parable, the features of the genre are observed - narration along a curve (parabola). The author begins the conversation from afar, with elements outside the plot; at the end of the work he returns to the main goal of the story, which is distinguished by its brightness, tension, and expressiveness. In this way, the unity of content and form is maintained, and the topicality and modernity of the problems discussed are emphasized. The volume of the story is small, all parts of the composition (construction of the work) are compressed, with the exception of the beginning, which conveys the flavor of folk life, where truth, honesty, decency, and hard work of the common people are contrasted with the emptiness and falsehood of the powerful. The plot (the initial moment in the development of events) is contained in a small paragraph, which says that Tychka brought to the workshop a small cube made of strong steel, but smooth and polished so that you can look at it: “It was made like this, as the Tula god himself could do, using a solar ruler.” The action develops rapidly. The artisans did not notice anything in this cube. But Tychka was able to take it apart into pieces - a hundred cubes - and put it back together. This is the theme of the work. The climax (the highest tension of the action) and the denouement (the final moment in the development of the action) are blurred and closely intertwined with each other: “We all looked at this cube like geese at the glow, and were afraid to gag in surprise. It doesn’t seem like a big thing, but it’s a bit wasteful.” The ending (the final moment of the folklore work) is edifying in nature, it expresses the idea of the parable in an allegorical form (“In the smallest area you can do more than anything”) and reveals the secret of mastery (“Every creative person needs courage”). The miniature ends with a conclusion in the spirit of oral folk art: “... that’s why we still haven’t been able to shoe a mosquito on the fly,” which should not be taken literally. This is a euphemism (an allegory that disguises too frank or rude expression), with the help of which the inability of some people to openly express their thoughts and act in accordance with the laws of conscience and honor is exposed. Ivan Pankin is a master of artistic detail. The language of his work is aphoristic. (Aphorisms are winged words, sayings that express with utmost precision and brevity some deep, significant thought in an original form. ) The writer's goal is to ridicule human vices, the shortcomings of social life, including modern life. All types of comic help him in this: humor, irony, satire, sarcasm, grotesque. The story is full of artistic means of language. Epithets, including permanent ones (“printed gingerbread”). Hyperboles (a cube the size of a cubic centimeter disintegrated into another hundred cubes; Poker’s ability to thresh rye on the butt of an ax; servants ride dogs). Comparisons in the folk spirit (“We all looked at this cube like geese at the glow, and were afraid to gag in surprise,” “A parable is shorter than a bird’s nose”). Artistic images (solar ruler, Tula god). The author uses folk, colloquial vocabulary. For example, Hvat is a lively person, full of youth; blathering, rattling, grazed word, scribbler. Folklore methods of word formation are interesting: the short adjective “wasteful” with the meaning “difficult to manufacture” from the noun “spendthrift” - a wasteful person; the form of the possessive adjective in the genitive case is “shorter than a bird’s nose.” The syntax of the parable is varied. These include vaguely personal sentences, rhetorical questions, applications (thought-dream, tiny cubes), incomplete sentences, and syntactic repetitions. The intonation when reading is smooth, measured; gives completeness to the images, so that you want to think about every word, comprehend the meaning of what was said, and not miss the main thing. Reading “Legends of Master Poke,” you get real pleasure from the author’s language, get carried away by the plot, admire the behavior of the main character, and think about the problems of society and man. 7. DIALECT VOCABULARYCA EDGES. AND PHRASEOLOGISTS OF THE TULA REGION Vocabulary is a set of words of a given language, or vocabulary. The word is the main significant unit of language, the main function is to name things, actions, properties. Dialectal vocabulary is words whose use is characteristic of people living in a certain area. Dialect words are used primarily in oral speech; they differ from the popular vocabulary not only in their narrower scope of application, but also in a number of phonetic, grammatical, lexico-semantic features. There are territorial and social dialects. Social ones include professionalisms and jargon (see the article “The language of the city of Tula and its varieties”). Let's consider the territorial dialect - the dialect of the Tula region. Phonetic dialectisms are words that reflect the phonetic features of a given dialect. In the Tula region, for example, they pronounce damno instead of long ago, sarakhvan instead of sarafan, birch instead of birch, boznychto instead of “God knows what”, fish caught instead of caught (see the article “Culture of speech. The concept of norm in connection with the phonetic and grammatical features of the Central Russian dialect "). Grammatical (morphological) dialectisms are words that have grammatical characteristics different from those in the literary language or that differ in morphological structure from the popular vocabulary. For example, in the Tula region they say: mami, the herd has gone, walk (see the article “Culture of speech. The concept of norm in connection with the phonetic and grammatical features of the Central Russian dialect”). /rafiches/these dialectisms are words pronounced with a different stress than is customary. Examples: glasses, will ring, twenty to twenty. Derivational dialectisms are words whose method of formation differs from commonly used vocabulary. Examples: theirs instead of theirs, ruble instead of ruble, life instead of life, whole day instead of whole day, hastily instead of hastily. Numerous lexical dialectisms of the Tula region. Among them are ethnographisms- names of objects, concepts characteristic of everyday life and the economy of a given area, which have no parallels in the literary language. Alena thread is a thread made from hemp and flax used for clothing. Peplum - women's jacket with long sleeves at the waist. Believe - canvas up to 20 meters long. Vesnika is sheep's wool sheared in spring and summer. Vindidyurki - ritual wedding baked goods. Vyazika is pottery clay. Duduka is a fictional creature used to intimidate children. Kazyuk is a brick dried in the sun. Kulaga is a Lenten dish made from beets. Wraps are unprocessed raw materials for spinning. Simple braids are a special type of bast. Matchmakers - a matchmaking ritual. Seryak is a type of women's clothing made of wool. Chuni - shoes woven from hemp ropes like bast shoes. In Tula dialects there are a large number actual lexical dialects. These words are synonyms corresponding to literary words. Agalians - teenagers Akaka - acacia Shoe covers - boots \, Peepers - bride's show Zhurovaya - modest Snack - have a snack at the wake Canyatnik - "horse" sorrel Trump holiday - patronal holiday Kochetki - sorrel Kstit - baptize Kuban - egg-little Kurovod - walk until dawn Lozinka - willow Spoon - ravine Model - soften Bedding - sackcloth Rogatyulka - simple spinning wheel Rogach - grip Ryazhanka - fermented milk product Sucker - foal Starnovate - comb hemp with a comb Loose - stove soot Chapelnik - grip Worms - fireflies Pinch - scold. Interesting semantic dialects of the Tula region. These are words that have a lexical meaning different from the literary norm. Wreaths - a type of ritual cookie Win - call the owners from home during the holiday Savage - wild apple tree Binge - party at the bride and groom Stones grow - a scattering of boulders Chicken coop - festive pie with buckwheat porridge Wave - steal Mill - butter churn Measure - basket for sowing Discussed - “evil eyed” Ceiling - attic Songs are spilling - songs are sung Play a song - sing a song Street - youth festivities Part - beef boiled in pieces Dialecticisms are often used as expressive means in works of fiction - for speech characteristics of characters, for conveying local color, for more accurate, from the author's point of view, naming things and concepts. | Phraseological the composition of the language is the most specific part of the vocabulary. A phraseological unit is a non-free combination of words that is reproduced in speech as something unified in terms of semantic content and lexical and grammatical composition. Phraseological units serve in a language to name different phenomena of reality and have a number of characteristics: integrity (the meaning of a phraseological unit cannot be deduced from the meaning of its components), reproducibility (the invariability of the form in which a phraseological unit is used in speech), dismembered structure (consists of two or more words with own stress and grammatical design), etc. The components of a phraseological unit are one member of a sentence. The phraseological composition reflects the cultural and historical experience of the people and the peculiarities of the historical laws of language development, therefore these units are diverse in origin: native Russian, borrowed, associated with a profession, etc. They are characterized by great imagery and expressiveness, and are used in both oral and written speech, although they are primarily characteristic of everyday speech. Consequently, the most extensive group of phraseological units has a colloquial stylistic overtones. The phraseological units of the Tula region are very interesting. Let's look at some of them. It was under King Caesar- a very long time ago (Caesar is the Old Russian rendering of the Roman name and imperial title of Caesar) - a native Russian phraseological unit. Stop raising Babylons- to speak beyond the point (Babylons - patterns on woven products in the form of a wave) - arose in connection with weaving. Vihar evo knowing- no one knows (unclear semantics). Fence towns- to hooligan, to mess around, to invent (gorodushki - a type of ritual hooliganism on Peter's Day in the Tula region) - a native Russian phraseological unit. Business for three- unprofitable business, i.e. business for three rubles is a purely Tula expression. Started walking around the borushkas- repeat words or deeds - has a historical explanation; the direct meaning is to collect crops from already harvested fields. Edit burnt shafts - to deceive, to deceive - a historical explanation: in Rus' they burned shafts, supposedly traces of a fire, and the false burnt victims went to the villages to beg. Boznytshto(God knows what) - bad, nonsense You can't get through with a gun- a lot of people The article presents only a few examples of lexical dialects and phraseological units of the Tula region, but they are part of the mighty Russian language, arose and developed according to its laws, and were the result of the life activity of the inhabitants of their native land. LITERATURE USED. 1. E.F. Buddha “On some folk dialects in the Tula and Kaluga provinces”, 1898 2. S.K. Pozharitskaya, textbook “Russian dialectology”. 3. Russian language. Textbook for students of pedagogy. institutions. In 2 hours, Moscow, "Enlightenment", 1989. 4. Linguistic encyclopedic dictionary, Moscow, "Soviet Encyclopedia", 1990. 5. Selection of the Tula newspaper "Sloboda". 6. V.I. Dahl. "Dictionary of the living Great Russian language." 7. G. Troitsky “A Dying Language.” “New Life”, 12/18/1971
In addition to common words in the Russian language, there are words that are used much less frequently. These include various jargons and expressions used in professional speech. Professionalisms are words that are used by people of a particular profession, or simply related to a certain specialization. But, unlike terms, they are not accepted as official concepts and are not applicable in scientific activity.
Features of the term
It is worth dwelling in more detail on what professionalisms are in the Russian language. Often these words include slang expressions. The informal nature of the lexemes means that they are not used everywhere. Their use may be limited to a narrow circle of people: those belonging to the same specialty, qualifications, working in the same organization. Often the range of concepts becomes broader over time.
Almost people of any profession have their own set of professionalisms. This is due to the need to clearly identify all processes and phenomena in working life, many of which often have no definition. Such words are formed through associations with everyday concepts. Often, for a person who is not privy to the intricacies of a particular profession, confusion may arise when encountering words from In real life, they can mean completely different objects.
For example, the word “peasants” in legal speech refers to witnesses to a crime, not village residents.
Characteristics and Application
Another characteristic feature of professionalism is emotional coloring and expression. Many people use it to refer to negative work phenomena and production errors. Their similarity with colloquial expressions is noticeable: in some cases it is almost impossible to distinguish between these concepts. They are always formed in oral speech. In some cases, a word has a terminological analogue that is not used due to the difficulty of pronunciation and the cumbersomeness of the word.
Many examples can be given from the railway professions. Each type of transport here has its own designation, sometimes consisting of abbreviations and numbers. It is quite difficult to use them in speech, so substitute concepts appear in the communication of railway workers.
For example, a tank with 8 axles is called a “cigar”, and a TU2 diesel locomotive is called a “carcass” by road workers. There are similar examples in aviation: the AN-14 aircraft was nicknamed the “bee”.
Not only technical devices have designations, but also individual professions and positions. Drivers of track machines are called train drivers. Some of the professionalism words are distorted foreign designations: reading the Latin alphabet without following the rules of pronunciation (for example, “designer” - designer).
Examples from different professions
In some works of fiction, writers also use professionalisms. This is necessary for depicting a certain category of people, conveying emotions and for character dialogues. Many representatives of professions do not even notice how they use words of this vocabulary in their speech. Teachers, sports coaches, economists and designers have them. In legal and advocacy practice, the phrase “to sew a case” means “an investigation with an accusation bias.” Musicians and music teachers have an expression “major mood”, which rather carries a positive connotation. Rich in the professionalism and language of medical workers, where complex names of diagnoses are replaced with ironic, simplified words.
“Betseshnik” is the name given to a patient infected with hepatitis B and C, and “atrial fibrillation” is the name given to atrial fibrillation. The main purpose of such words in this case is to make speech shorter and more succinct, and speed up the process of providing care to patients.
Use in speech
Professionalisms in the Russian language have been little studied; linguistic researchers try to avoid this phenomenon. The appearance of such words is spontaneous, and it is difficult to find definite boundaries for them and give a clear designation. There are some educational publications in which experts try to give a list of professionalisms. Such dictionaries will help students in their future work activities: quickly get up to speed and understand colleagues, and not experience difficulties when communicating verbally with specialists.
Problems of professionalism
One of the problems is the lack of understanding of professionalism by people who do not belong to a particular group. Many of these expressions are not in dictionaries. And those that are found in dictionary and terminological publications are difficult to differentiate from the terms themselves and colloquialisms. The inability to find a precise definition of professionalism can cause confusion even among the professions themselves. And because of this - errors in work, failures. Information barriers arise when workers and qualified specialists communicate with their management. It is more common for employees to use special expressions in their speech, but many managers are unfamiliar with their meaning. As a result, some isolation of groups of workers at different levels appears, and conflicts may arise.
>>Russian language: Professionalisms and terms. Speech development lesson. Listening based on an adapted monologue text
Professionalisms and terms. Speech development lesson. Listening based on an adapted monologue text
Professionalisms and terms
Theory A
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The use of professionalisms, as well as the word “professionalism” itself, in everyday speech
Research by Irina Chernyshova, Dasha Novikova and Zosia KostrovaPurpose of the work: to find out whether people use professionalism in everyday life.
Ways to carry out work:
1). Survey using a questionnaire
2). Observations
3). Analysis of the results obtained
4). Comparison of the received data and bringing them together into a single whole
Work plan:
1). Introduction - theoretical part
2). Results in chart form
3).Analysis of results
4).Conclusion
What are professionalisms? Professionalisms are words or expressions characteristic of the speech of a particular professional group. Professionalisms usually act as colloquial equivalents of terms corresponding in meaning: a typo in the speech of newspapermen is a blunder; the steering wheel in the speech of drivers is a steering wheel; synchrophasotron in the speech of physicists is a saucepan, etc. The terms are legal names of any special concepts. Professionalisms are used as their informal substitutes only in the speech of persons associated with a profession, limited to a special topic. Often professionalisms have a local, local character. There is, however, a point of view according to which professionalism is synonymous with the concept of “term”. According to some researchers, professionalism is a “semi-official” name for a concept that is limited in use - the vocabulary of hunters, fishermen, etc.
By origin, professionalism, as a rule, is the result of a metaphorical transfer of the meanings of words from everyday vocabulary to terminological concepts: by similarity, for example, between the shape of a part and everyday reality, the nature of the production process and a well-known action, or, finally, by emotional association.
Professionalisms are always expressive and are contrasted with the precision and stylistic neutrality of terms. Professionalisms are similar to jargons and words of colloquial vocabulary in their reduced, rough expression, and also in the fact that they, like jargons and colloquialisms, are not an independent linguistic subsystem with its own grammatical features, but a kind of small lexical complex. Due to the expressiveness inherent in professionalisms, they relatively easily pass into the vernacular, as well as into the colloquial speech of the literary language. For example: the cover is “a mistake” (from the actor’s speech), the wiper is “a car windshield wiper” (from the speech of motorists).
Like terms, professionalisms are used in the language of fiction as a means of representation.
And so, we found out that professionalisms are words characteristic of a particular profession, sometimes close to jargon.
At the second stage of our work, we conducted a survey among people of various professions. In particular, teachers.
To the diagram: 40% of respondents said that they do not know what professionalism is, 27% can guess, more than 30% of respondents answered that they know. Some respondents insisted that the word “professionalism” does not exist, but only professional vocabulary (a concept close in meaning). Slightly more than half said that they often use professionalisms in everyday life; the majority agreed that professionalisms help them communicate with people in their profession, but several people, including a couple of teachers, said that they get along just fine in speech without them.
We also asked all respondents to give a couple of examples of professionalism related to their profession.
Here are the examples we received:
Teachers - pedagogical skills, project, non-linear learning process, class magazine, equation, music teacher - major mood, you are false (in the sense of lying), book sorter - codification (of books), coach - cutting, economist - asset, credit, debit, engineer - sunbed, riser, helmsman - fordak, tacking (overtaking), compass (instead of compass).
From the examples described above, it is clear that many (about 92%) do not perceive the word “professionalism” well. Some Russian language teachers insisted that the word “professionalism” in this meaning does not exist at all. From which we can conclude that the term “professionalism” itself refers to professional vocabulary.
After conducting the survey, we came to the unanimous opinion that we do not need the term “professionalism” in everyday life. We understand each other perfectly well even without him. For example, when we explained what these very professionalisms are, the example of a sailor - a compass - was very helpful. People often use professionalisms and find them convenient. Professionalisms also help people in the same profession understand each other better. Professionalism can become synonymous with ordinary words in everyday life (for example, major mood means “good mood”)
