Artistic style of speech and syntactic means. Linguistic features of artistic speech

Artistic style - concept, types of speech, genres

All researchers talk about the special position of style fiction in the Russian language style system. But his highlighting in this common system perhaps, 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 recording 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 artistic expression, and can be used as a means literary language, as well as phenomena outside the literary language - dialects, jargon, means of other styles, 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 that, scientifically and officially, is business styles emphasizes the accuracy of the text, in journalism serves as a means of enhancing impact, in artistic speech can form the basis of the text, 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 Thunderstorm” “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, speech features the actual author's text.

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 actual facts biography of the writer. 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

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Introduction

Conclusion

Literature

Introduction

The study of the stylistic stratification of the Russian language is carried out by a special science - stylistics, which studies various issues concerning the rules and features of the purposeful use of various words and forms of the national language in various kinds of statements and speech. Its appearance is quite natural, since defining the boundaries of a particular functional style and its features has always seemed very important for linguistic science, since the definition of the rules and laws of a language has always gone hand in hand with the definition of norms for the use of certain elements of language in specific speech contexts. According to linguists, normative grammar and stylistics, lexicology, lexicography and stylistics have long been and are firmly connected.

Among the works of Russian linguists, studies and articles on Russian stylistics occupy a prominent place. Here we can highlight the following important work, like articles by academician L.V. Shcherba (especially “Modern Russian Literary Language”), and numerous large and small studies, monographs and articles by Academician V.V. Vinogradova. Also interesting are various studies and articles by A.M. Peshkovsky, G.O. Vinokura, L.A. Bulakhovsky, B.V. Tomashevsky, V.A. Goffman, B.A. Larina et al. These studies were the first to theoretical basis Questions were raised about the separation of artistic style into a separate category, about its specificity and peculiarities of existence.

However, linguists have still not found agreement and unity in understanding the essence of the “language” of fiction and its place in the system of literary speech styles. Some put the “style of fiction” in parallel with other stylistic varieties of literary speech (with scientific, journalistic, official business style, etc.), on a par with them (A.N. Gvozdev, R.A. Budagov, A.I. Efimov, E. Riesel, etc.), others consider it a phenomenon of a different, more complex order (I.R. Galperin, G.V. Stepanov, V.D. Levin).

But all scientists recognize the fact that, in essence, the “language” of fiction, developing in the historical “context” of the literary language of the people and in close connection with it, at the same time seems to be its concentrated expression. Therefore, the concept of “style” when applied to the language of fiction is filled with a different content than in relation to other functional styles Russian language.

Thus, in linguistics the specificity of artistic style is noted, which determines the relevance of our work.

The purpose of our research is to determine the characteristics of the artistic style of speech.

The object of research is the process of functioning of this style in the Russian literary language.

The subject is specific linguistic means of artistic style.

Consider the general concept of “speech style”;

Reveal features artistic style of speech;

Analyze the features of the selection and use of various linguistic means in this style.

The practical significance of our work lies in the fact that the material presented in it can be used both in studying the general course of stylistics of the Russian language, and in studying a separate topic “Artistic style of speech”.

1. General concept about speech styles

Functional style is a type of literary language that performs a specific function in communication. That's why styles are called functional. If we assume that style is characterized by five functions (there is no consensus among scientists about the number of functions inherent in language), then five functional styles are distinguished: colloquial, scientific, official business, newspaper journalistic, and artistic.

Functional styles determine the stylistic flexibility of language, diverse possibilities of expression, and variation of thought. Thanks to them, language is able to express complex scientific thought, philosophical wisdom, outline laws, and reflect the multifaceted life of the people in an epic.

The performance of a particular function by a style - aesthetic, scientific, business, etc. - imposes a deep originality on the entire style. Each function is a specific setting for one or another manner of presentation - precise, objective, concretely pictorial, informative and business, etc. And according to this setting, each functional style selects from the literary language those words and expressions, those forms and designs that can the best way fulfill the internal task of this style. Thus, scientific speech needs precise and strict concepts, business speech gravitates towards generalized names, artistic speech prefers concreteness and figurativeness.

However, style is not only a method, a manner of presentation. Each style has its own range of topics and its own content. The conversational style is limited, as a rule, to everyday, everyday subjects. Official business speech serves the court, law, diplomacy, relations between enterprises, etc. Newspaper and journalistic speech is closely related to politics, propaganda, and public opinion.

So, we can distinguish three features of the functional style:

1) each functional style reflects a certain aspect public life, has a special scope, its own range of topics;

2) each functional style is characterized by certain conditions of communication - official, informal, casual, etc.;

3) Each functional style has general installation, the main task of speech.

These external (extralinguistic) features determine the linguistic appearance of functional styles.

The first feature is that each of them has a set of characteristic words and expressions. Thus, the abundance of terms and special vocabulary characterizes the scientific style to the greatest extent. Colloquial words and expressions indicate that we have colloquial speech, a colloquial-everyday style. Artistic speech is replete with figurative, emotional words, while newspaper and journalistic speech is replete with socio-political terms. This does not mean, of course, that the functional style consists entirely of characteristic words specific to it. On the contrary, in quantitative terms their share is insignificant, but they constitute the most significant part of it.

The bulk of words in each style are neutral, inter-style words, against which the characteristic vocabulary and phraseology stand out. Interstyle vocabulary is the guardian of the unity of the literary language. Being general literary, it unites functional styles, preventing them from turning into special, difficult to understand languages. Characteristic words constitute the linguistic specificity of the style. They are the ones who determine its linguistic appearance.

Common to all functional styles are grammatical means. The grammar of the language is the same. However, in accordance with its setting, each functional style uses grammatical forms and constructions in its own way, giving preference to one or another of them. Thus, for the official business style, which is based on everything personal, vaguely personal, reflexive constructions, passive phrases are very characteristic (reception is made, certificates are issued, money is exchanged). The scientific style prefers direct word order in sentences. The journalistic style is characterized by rhetorical figures: anaphors, epiphoras, parallelisms. However, in relation to vocabulary, and especially in relation to grammar, we are not talking about absolute, but about relative assignment to one or another style. Words and grammatical structures characteristic of a particular functional style can be used in another style.

In linguistic terms, functional styles differ in terms of imagery and emotionality. The possibilities and degree of imagery and emotionality in different styles are not the same. These qualities are not characteristic in principle for scientific and official business styles. However, elements of imagery and emotionality are possible in some genres of diplomacy and in polemical scientific writings. Even some terms are figurative. For example, a strange particle in physics is called that because it really behaves unusually, strangely.

Other functional styles favor emotionality and imagery. For artistic speech, this is one of the main linguistic features. Artistic speech is figurative in nature and essence. Imagery in journalism has a different character. However, here too this is one of the important components of style. She is quite predisposed to figurativeness and especially to emotionality and colloquial speech.

Thus, each functional style is a special influential sphere of literary language, characterized by its own range of topics, its own set of speech genres, specific vocabulary and phraseology. Each functional style is a kind of language in miniature: the language of science, the language of art, the language of laws, diplomacy. And all together they make up what we call the Russian literary language. And it is the functional styles that determine the richness and flexibility of the Russian language. Colloquial speech brings liveliness, naturalness, lightness, and ease into the literary language. Scientific speech enriches the language with precision and rigor of expression, journalism - with emotionality, aphorism, artistic speech - with imagery.

2. Characteristics of the artistic style

artistic speech stylistics Russian

The specificity of the artistic style of speech, as a functional one, lies in the fact that it is used in fiction, which performs a figurative-cognitive and ideological-aesthetic function. Unlike, for example, the abstract, objective, logical-conceptual reflection of reality in scientific speech, fiction is characterized by a concrete figurative representation of life. A work of art is characterized by perception through the senses and re-creation of reality; the author strives, first of all, to convey his personal experience, his understanding or comprehension of a particular phenomenon. 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, and the like. Associated with this is the emotionality and expressiveness, metaphor, and meaningful diversity of the artistic style of speech.

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

The basis of the artistic style of speech is the literary Russian language. The word in this functional style performs a nominative-figurative function. The number of words that form the basis of this style, first of all, 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.

Word in work of art seems to be doubled: it has the same meaning as in the general literary language, as well as additional, incremental, associated with the artistic world, the content of a given work. Therefore, in artistic speech, words acquire a special quality, a certain depth, and begin to mean more than what they mean in ordinary speech, while remaining outwardly the same words.

This is how ordinary language is transformed into artistic language; this, one might say, is the mechanism of action of the aesthetic function in a work of art.

The peculiarities of the language of fiction include an unusually rich, varied vocabulary. If the vocabulary of scientific, official business and colloquial speech is relatively limited thematically and stylistically, then the vocabulary of artistic style is fundamentally unlimited. The means of all other styles can be used here - terms, official expressions, colloquial words and expressions, and journalism. Of course, all these various means undergo aesthetic transformation, fulfill certain artistic tasks, and are used in unique combinations. However, there are no fundamental prohibitions or restrictions regarding vocabulary. Any word can be used if it is aesthetically motivated and justified.

We can say that in artistic style all linguistic means, including neutral ones, are used to express the poetic thought of the author, to create a system of images of a work of art.

Wide range of applications speech means is explained by the fact that, unlike other functional styles, each of which reflects one specific aspect of life, the artistic style, being a kind of mirror of reality, reproduces all spheres of human activity, all phenomena of social life. The language of fiction is fundamentally devoid of any stylistic closure; it is open to any styles, any lexical layers, any linguistic means. This openness determines the diversity of the language of fiction.

In general, artistic style is usually characterized by imagery, expressiveness, emotionality, authorial individuality, specificity of presentation, and the specificity of the use of all linguistic means.

It influences the imagination and feelings of the reader, conveys the thoughts and feelings of the author, uses all the wealth of vocabulary, possibilities different styles, characterized by imagery, emotionality, and concreteness of speech. The emotionality of an artistic style differs significantly from the emotionality of a colloquial style, since the emotionality of artistic speech performs an aesthetic function.

A broader concept is the language of fiction: the artistic style is usually used in the author's speech, but the characters' speech may also contain other styles, such as colloquial.

The language of fiction is a kind of mirror of literary language. Rich literature means rich literary language. Great poets and writers create new forms of literary language, which are then used by their followers and all those who speak and write in this language. Artistic speech appears as the pinnacle achievement of language. There are possibilities in it national language presented in their most complete and pure development.

3. Language features artistic speech

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

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

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.

In the artistic style of speech, the verbal polysemy of a word is very widely used, revealing meanings and shades of meaning in it, as well as synonymy in all language levels, making it possible to emphasize the subtlest shades of meaning. This is explained by the fact that the author strives to use all the riches of the language, to create his own unique language and style, to create a bright, expressive, figurative text. The author uses not only the vocabulary of the codified literary language, but also a variety of visual arts 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 example, the adjective “lead” in scientific speech realizes its direct meaning- “lead ore”, “lead bullet”, in fiction forms an expressive metaphor - “lead clouds”, “lead night”. Therefore, in artistic speech important role play phrases that create a certain figurative representation.

The means of verbal imagery include, first of all, tropes: metaphor, metonymy, synecdoche, personification, figurative comparison, epithet, hyperbole, etc., as well as syntactic-poetic figures: anaphora, epiphora, etc.

Tropes are lexical-semantic phenomena; these are different cases of using a word in a figurative meaning. However, as is known, not every figurative meaning is figurative for modern linguistic consciousness.

For example, a metaphor is understood as a word or figure of speech used in figurative meaning to define an object or phenomenon based on any analogy or similarity. However, a distinction is usually made between metaphors of a general linguistic nature (erased or fossilized), metaphors that retain “freshness,” and strictly poetic metaphors, which are distinguished by their individual character.

An epithet is a word that figuratively defines an object or action, emphasizing its characteristic property, and is also most commonly used in artistic speech, where it performs an aesthetic function. The epithet is often metaphorical: The joyful ray of a young day has not yet penetrated into the gorge (Lermontov); Sweat dripped from his open copper face (Paustovsky); She smiled with a blue childish smile (Sholokhov). Epithets are also widely used in journalistic speech, which is due to the expressive function of journalism: gigantic construction, bright future; angry protest; feats of arms.

Other means of verbal imagery, for example metonymy, synecdoche, etc., are also most characteristic of artistic speech.

Examples of metonymy as a word or expression, the figurative meaning of which is based on the external or internal connection (contiguity) of two objects or phenomena: Well, eat another plate, my dear (Krylov); And in the door there are pea coats, overcoats, sheepskin coats (Mayakovsky).

Synecdoche is a type of metonymy based on the transfer of meaning from one phenomenon to another based on the quantitative relationship between them (part instead of the whole, singular instead of plural or, conversely, a specific name instead of a generic or vice versa), for example: And it was heard until dawn, how the Frenchman (Lermontov) rejoiced; We all look at Napoleons (Pushkin).

Expressive means are also the syntactic resources of the language. These are, for example, requests different shapes transmission of someone else's speech - direct and improperly direct speech. Stylistic resources also belong to introductory words, phrases and sentences. Different semantic groups of introductory words are used differently in known functional styles. In artistic speech, introductory words are widely used to express emotional assessment statements or its expressive nature.

Among the stylistic resources of syntax, which have long been traditionally identified, are the means of the so-called poetic syntax. These are special syntactic devices and poetic figures that are widely used in fiction and journalism; they are extremely rare in scientific speech and almost absent (at least in their usual function) in official business speech.

Among the means of poetic syntax, one should name anaphora - the technique of unity of beginning in a series of sentences following one another; epiphora - the same ending; repetition of words and their complete parallelism, ring of stanzas (with the same beginning and ending); antithesis - combining words with opposite meanings for stylistic purposes; gradation associated with an increase in expressiveness; period, as a special semantic and rhythmic melodic structure of a sentence, and some others.

Periphrasis (paraphrase) - a turnover consisting of replacing the name of an object or phenomenon with a description of its essential features or an indication of its characteristic features - is widely used, in addition to fiction, in journalistic speech: ship of the desert (camel); queen of the fields (corn); king of beasts (lion).

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

The syntactic structure of artistic speech reflects the flow of figurative and emotional impressions of the author, so here you can find a whole variety of syntactic structures. Each author subordinates linguistic means to the fulfillment of his ideological and aesthetic tasks.

In artistic speech, deviations from structural norms are also possible 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.

In the artistic style of speech, the verbal ambiguity of the word is widely used, which opens up additional 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.

Conclusion

Functional styles determine the stylistic flexibility of language, diverse possibilities of expression, and variation of thought. Thanks to them, the language is capable of expressing both complex scientific thought and philosophical wisdom; it can outline laws and reflect the multifaceted life of the people in an epic.

Each functional style is a special influential sphere of literary language, characterized by its own range of topics, its own set of speech genres, specific vocabulary and phraseology.

Linguists have still not found agreement and unity in understanding the essence of the artistic style of speech, its place in the system of literary speech styles. Some put the “style of fiction” in parallel with other stylistic varieties of literary speech, others consider it a phenomenon of a different, more complex order. But all scientists recognize that the concept of “style” when applied to the language of fiction is filled with a different content than in relation to other functional styles of the Russian language.

The artistic style differs from other functional styles in that it uses the linguistic means of all other styles, but these means (which is very important) appear here in a modified function - in an aesthetic one. In addition, in artistic speech not only strictly literary, but also extra-literary means of language can be used - colloquial, slang, dialect, etc., which are also not used in the primary function, but are subordinate to an aesthetic task.

Artistic speech appears as the pinnacle achievement of language. In it, the capabilities of the national language are presented in the most complete and pure development.

Literature

1. Vinogradov V.V. Selected works: On the language of artistic prose. M., 1980

2. Gorshkov A.I. Russian stylistics. M., "Astrel", 2001

3. D.E. Rosenthal. Practical stylistics of the Russian language. M.: 1997

4. I.B. Blue Stylistics of the Russian language. M.: 1997.

5. Kapinos V.I. Speech development: theory and practice. (stylistics). -- M.: Education, 1991

6. Kozhina M.N. Stylistics of the Russian language. M., 1983

Culture of Russian speech. Textbook for universities. Ed. prof. OK. Graudina and prof. E.N. Shiryaeva. - M.: Publishing group NORMA-INFRA M, 1999

7. Losev A.F. The problem of artistic style. Kyiv. 1994

8. Pospelov G.N. Problem literary style. M., 1970

9. Razinkina N.M. Functional style. M.: graduate School, 1989

10. Solganik G.Ya. Stylistics. M., 1995

11. Stylistics and literary editing / Ed. IN AND. Maksimova. - M., "Gardariki", 2004

12. Tyupa V.I. Analytics of art. Introduction to literary analysis. M., 2001

13. Shiryaev E.N. Basic syntactic characteristics of functional varieties of the modern Russian language // Russian language in its functioning. Levels of language. M., 1995

14. Shmelev D. N. Russian language in its functional varieties. M., 1977

15. Shcherba L.V. Modern Russian literary language // Shcherba L.V. Selected works on the Russian language. M., 1957

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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) shapes plural 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 fixed in various kinds 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, away, penny. Sound advice, isn't it?"

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 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 contractions (evening - evening newspaper, motor - powerboat, 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).

IN general outline, the main linguistic features of the artistic style of speech include the following:

1. Heterogeneity of the lexical composition: a combination of book vocabulary with colloquial, colloquial, dialect, etc.

Let's look at some examples.

“The feather grass has matured. The steppe for many miles was dressed in swaying silver. The wind took it elastically, flowing, roughened, bumped, and drove bluish-opal waves to the south, then to the west. Where the flowing air stream ran, the feather grass bowed prayerfully, and on its gray ridge a blackened path lay for a long time.”

“Various grasses have bloomed. On the ridges of the ridge there is a joyless burnt-out wormwood. The nights faded quickly. At night, countless stars shone in the charred black sky; the month - the Cossack sun, darkened by the damaged side, shone sparingly, whitely; The spacious Milky Way intertwined with other star paths. The astringent air was thick, the wind was dry and wormwood; the earth, saturated with the same bitterness of the all-powerful wormwood, yearned for coolness.”

(M. A. Sholokhov)

2. The use of all layers of Russian vocabulary in order to realize the aesthetic function.

“Daria hesitated for a minute and refused:

No, no, I'm alone. I'm there alone.

She didn’t even know where “there” was and, leaving the gate, headed towards the Angara.”

(V. Rasputin)

3. Activity of polysemantic words of all stylistic varieties of speech.

“The river seethes all in a lace of white foam.

Poppies are blooming red on the velvet meadows.

Frost was born at dawn."

(M. Prishvin).

4. Combinatorial increments of meaning.

Words in an artistic context receive new semantic and emotional content, which embodies the author’s figurative thought.

“I caught the departing shadows in my dreams,

The fading shadows of the fading day.

I climbed the tower. And the steps shook.

And the steps trembled under my feet.”

(K. Balmont)

5. Greater preference for using concrete vocabulary and less preference for abstract vocabulary.

"Sergei pushed heavy door. The porch step whimpered barely audibly under his foot. Two more steps and he’s already in the garden.”

“The cool evening air was filled with the intoxicating aroma of blooming acacia. Somewhere in the branches a nightingale was singing its trills, iridescent and subtle.”

(M. A. Sholokhov)

6. Minimum of generic concepts.

“Another piece of advice that is essential for a prose writer. More specifics. The more precise and specific the object is named, the more expressive the imagery is.”

“You have: “Horses chew grain. The peasants are preparing " morning food“,” “the birds were noisy”... In the artist’s poetic prose, which requires visible clarity, there should be no generic concepts, unless this is dictated by the very semantic task of the content... Oats are better than grain. Rooks are more appropriate than birds.”

(Konstantin Fedin)

7. Widespread use of folk poetic words, emotional and expressive vocabulary, synonyms, antonyms.

“The rosehip, probably, has been creeping up the trunk to the young aspen since spring, and now, when the time has come for the aspen to celebrate its name day, it all burst into flames with red, fragrant wild roses.”

(M. Prishvin).

“New Time was located in Ertelev Lane. I said “fit.” That's not the right word. Reigned, dominated."

(G. Ivanov)

8. Verbal speech management.

The writer names each movement (physical and/or mental) and change of state in stages. Pumping up verbs activates reading tension.

“Grigory went down to the Don, carefully climbed over the fence of the Astakhovsky base, and approached the window covered with shutters. He heard only the frequent beats of his heart... He quietly knocked on the frame binding... Aksinya silently walked up to the window and peered. He saw her press her hands to her chest and heard her inarticulate moan escape her lips. Grigory motioned for her to open the window and took off his rifle. Aksinya opened the doors. He stood on the rubble, Aksinya’s bare hands grabbed his neck. They trembled and beat so much on his shoulders, these dear hands, that their trembling was transmitted to Gregory.”

(M.A. Sholokhov “Quiet Don”)

The dominant features of the artistic style are the imagery and aesthetic significance of each of its elements (down to sounds). Hence the desire for a fresh image, uncluttered expressions, a large number of tropes, special artistic (corresponding to reality) accuracy, the use of special expressive means of speech characteristic only of this style - rhythm, rhyme, even in prose a special harmonic organization of speech.

The artistic style of speech is characterized by imagery and extensive use of figurative and expressive means of language. In addition to its typical linguistic means, it also uses means of all other styles, especially colloquial. In the language of artistic literature, colloquialisms and dialectisms, words of a high, poetic style, slang, rude words, professional business figures of speech, and journalism can be used. The means in the artistic style of speech are subordinate to its main function - aesthetic.

As I. S. Alekseeva notes, “if conversational style speech primarily performs the function of communication, (communicative), scientific and official business message function (informative), then the artistic style of speech is intended to create artistic, poetic images, emotional and aesthetic impact. All linguistic means included in a work of art change their primary function and are subordinate to the objectives of a given artistic style."

In literature, language occupies a special position, since it is that building material, that matter perceived by hearing or sight, without which a work cannot be created.

An artist of words - a poet, a writer - finds, in the words of L. Tolstoy, “the only necessary placement of the only necessary words” in order to correctly, accurately, figuratively express a thought, convey the plot, character, make the reader empathize with the heroes of the work, enter the world created by the author.

All this is accessible only to the language of fiction, which is why it has always been considered the pinnacle of literary language. The best in language, its strongest capabilities and rarest beauty are in works of fiction, and all this is achieved artistic means language. The means of artistic expression are varied and numerous. First of all, these are the trails.

Tropes are a figure of speech in which a word or expression is used figuratively in order to achieve greater artistic expressiveness. The trope is based on a comparison of two concepts that seem close to our consciousness in some respect.

1). An epithet (Greek epitheton, Latin apositum) is a defining word, mainly when it adds new qualities to the meaning of the word being defined (epitheton ornans - decorating epithet). Wed. in Pushkin: “ruddy dawn”; Special attention theorists pay attention to an epithet with a figurative meaning (cf. Pushkin: “my harsh days”) and an epithet with the opposite meaning - the so-called. oxymoron (cf. Nekrasov: “poor luxury”).

2). Comparison (Latin comparatio) - revealing the meaning of a word by comparing it with another according to some common characteristic (tertium comparationis). Wed. from Pushkin: “ faster than a bird youth." Discovering the meaning of a word by determining its logical content is called interpretation and refers to figures.

3). Periphrasis (Greek periphrasis, Latin circumlocutio) is a method of presentation that describes a simple subject through complex revolutions. Wed. Pushkin has a parodic periphrase: “The young pet of Thalia and Melpomene, generously gifted by Apollo.” One type of periphrasis is euphemism - the replacement with a descriptive phrase of a word that for some reason is considered obscene. Wed. from Gogol: “get by with the help of a scarf.”

Unlike the tropes listed here, which are built on enriching the unchanged basic meaning of the word, the following tropes are built on shifts in the basic meaning of the word.

4). Metaphor (Latin translatio) - the use of a word in a figurative meaning. The classic example given by Cicero is the “murmur of the sea.” The confluence of many metaphors forms an allegory and a riddle.

5). Synecdoche (Latin intellectio) is the case when a whole thing is recognized by a small part or when a part is recognized by the whole. The classic example given by Quintilian is “stern” instead of “ship”.

6). Metonymy (Latin denominatio) is the replacement of one name for an object with another, borrowed from related and similar objects. Wed. from Lomonosov: “read Virgil.”

7). Antonomasia (Latin pronominatio) -- replacement own name another, as if borrowed from outside, nickname. The classic example given by Quintilian is “destroyer of Carthage” instead of “Scipio”.

8). Metalepsis (Latin transumptio) is a replacement, representing, as it were, a transition from one trope to another. Wed. from Lomonosov - “ten harvests have passed...: here, after the harvest, of course, it’s summer, after the summer, a whole year.”

These are the paths built on the use of words in a figurative meaning; theorists also note the possibility of simultaneous use of a word in a figurative and literal sense, the possibility of a confluence of contradictory metaphors. Finally, a number of paths are identified in which not the main meaning of the word changes, but one or another shade of this meaning. These are:

9). Hyperbole is an exaggeration taken to the point of “impossibility.” Wed. from Lomonosov: “running, faster than wind and lightning.”

10). Litotes is an understatement expressing through a negative phrase the content of a positive phrase (“a lot” in the meaning of “many”).

eleven). Irony is the expression in words of a meaning opposite to their meaning. Wed. Lomonosov’s characterization of Catiline by Cicero: “Yes! He is a timid and meek man...”

TO expressive means language also includes stylistic figures of speech or simply figures of speech: anaphora, antithesis, non-union, gradation, inversion, polyunion, parallelism, a rhetorical question, rhetorical appeal, silence, ellipsis, epiphora. The means of artistic expression also include rhythm (poetry and prose), rhyme, and intonation.

artistic speech stylistics Russian

The basis of the artistic style of speech is the literary Russian language. The word in this functional style performs a nominative-figurative function. The number of words that form the basis of this style, first of all, 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 an insignificant extent, only to create artistic authenticity when describing certain aspects of life.

The word in a work of art seems to be doubled: it has the same meaning as in the general literary language, as well as an additional, incremental one, associated with the artistic world, the content of this work. Therefore, in artistic speech, words acquire a special quality, a certain depth, and begin to mean more than what they mean in ordinary speech, while remaining outwardly the same words.

This is how ordinary language is transformed into artistic language; this, one might say, is the mechanism of action of the aesthetic function in a work of art.

We can say that in artistic style all linguistic means, including neutral ones, are used to express the poetic thought of the author, to create a system of images of a work of art.

The wide range in the use of speech means is explained by the fact that, unlike other functional styles, each of which reflects one specific aspect of life, the artistic style, being a kind of mirror of reality, reproduces all spheres of human activity, all phenomena of social life. The language of fiction is fundamentally devoid of any stylistic closure; it is open to any styles, any lexical layers, any linguistic means. This openness determines the diversity of the language of fiction.

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 a colloquial style, since the emotionality of artistic speech performs an aesthetic function.

A broader concept is the language of fiction: the artistic style is usually used in the author's speech, but the characters' speech may also contain other styles, such as colloquial.

The language of fiction is a kind of mirror of literary language. Rich literature means rich literary language. Great poets and writers create new forms of literary language, which are then used by their followers and all those who speak and write in this language. Artistic speech appears as the pinnacle achievement of language. In it, the capabilities of the national language are presented in the most complete and pure development.

Artistic style of speech and syntactic means. Linguistic features of artistic speech

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

The means of verbal imagery include, first of all, tropes: metaphor, metonymy, synecdoche, personification, figurative comparison, epithet, hyperbole, etc., as well as syntactic-poetic figures: anaphora, epiphora, etc.

Tropes are lexical-semantic phenomena; these are different cases of using a word in a figurative meaning. However, as is known, not every figurative meaning is figurative for modern linguistic consciousness.

Other means of verbal imagery, for example metonymy, synecdoche, etc., are also most characteristic of artistic speech.

Examples of metonymy as a word or expression, the figurative meaning of which is based on the external or internal connection (contiguity) of two objects or phenomena: Well, eat another plate, my dear (Krylov); And in the door there are pea coats, overcoats, sheepskin coats (Mayakovsky).

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

The syntactic structure of artistic speech reflects the flow of figurative and emotional impressions of the author, so here you can find a whole variety of syntactic structures. Each author subordinates linguistic means to the fulfillment of his ideological and aesthetic tasks.

In artistic speech, deviations from structural norms are also possible 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.

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1. Lexical means: