Topic: Orthoepy. Phonetic means linguistic expressiveness: alliteration, assonance.
Target: repeat and systematize knowledge about orthoepy, phonetic means of linguistic expression, identify the semantic function of sound writing in literary texts.
Lesson objectives:
1) training:to actualize the concepts of alliteration, assonance, to develop the ability to determine the phonetic and intonation features of the text, the methods of its sound instrumentation.
2) development:to develop research skills, reconstructive and creative imagination of students, emotional-figurative speech;
3) education: cultivate love for the native language, interest in folklore, Russian poetry, and research work.
During the classes .
Our extraordinary language is still a mystery.
It contains all the shades, all the transitions of sounds
from the hardest to the most tender and soft;
it is limitless and can... enrich itself every minute.
N.V.Gogol
1. Organizational moment.
2. Warm up. Write down the words and put an accent mark in them. Check it in the dictionary.
ringingI t tU fly with a kiloE tr dogsABOUT r householdI eva dosU G
Write down new words in a notebook and remember their pronunciation.
The company passed through the thief ABOUT ta.
M E Take one look and you'll run aground.
Market wholesale ABOUT yummy, fruity.
Eaten t ABOUT mouths, didn't fit into shorts.
Teacher's word: Today is the final lesson on phonetics and spelling. What have we learned?
Phonetics – branch of linguistics that studies speech sounds.
Sounds are divided into vowels and consonants.
Vowel sounds can be stressed or unstressed.
Consonant sounds are divided into voiceless, voiced and sonorant; can be hard or soft.
Orthoepy - a branch of linguistics that deals with the study of standard literary pronunciation and stress.
Accent - this is the selection of one of the syllables in the word by various phonetic means (increasing the voice, raising the tone in combination with increasing duration, intensity, volume).
Russian accent free, varied, it can fall on any syllable. Russian stress is mobile, it can move in the same word from one syllable to another: sides A - store O nka - st O rona.)
Teacher's word: Now let's turn to the statement of the famous linguist K.S. Gorbachevich:
“It is difficult to overestimate the role of literary pronunciation - one of important indicators the general cultural level of modern man. The correct pronunciation of a word is no less important than the correct spelling.” (K. S. Gorbachevich .)
- What is the main idea of this statement? Why does the author attach special importance correct pronunciation?
Today we will talk about the phonetic portrait of a word. You can say: portraits are painted by artists of the brush and pen. But if a person likes to peer into a word, listen to its sound, can characterize sounds, notice interesting phonetic phenomena in a word - he is also a poet and artist!
Our goal: to develop the ability to see phonetic phenomena in a word.
Agree that every person would like to become great and famous, but for this you need to learn to notice the great in the small. So, look into the small and you will see the great.
Teacher's word:
We live in a world of sounds. Some sounds evoke positive emotions, while others alarm, excite, cause anxiety, or calm and induce sleep. Sounds evoke images. Using a combination of sounds, you can have an emotional impact on a person, which we especially perceive when reading literary works and works of Russian folk art.
Teacher.
Guys, today I invite you to solve a “very difficult” riddle:
I don't buzz when I sit
I don't buzz when I walk
I don't buzz when I'm working,
And I buzz when I'm spinning.
Students. It's a beetle.
Teacher. I would like to note that this “very difficult” riddle can be easily solved by children 4-5 years old. Why do you think kids do this easily?
Students. This is due to the fact that the sound F is repeated in the riddle; by selecting this sound, the sounds that beetles make are reproduced, so both we and the kids easily imagined who it was talking about.
Teacher. What is this technique called in linguistics?
Students. This is a sound recording.
Teacher. It is this brightest means of expression that will be discussed in our workshop.Using certain sounds in in a certain order How artistic technique expressiveness of speech to create an image is called sound writing.
SOUND WRITTEN is an artistic technique that consists of selecting words that imitate the sounds of the real world in the text.
Onomatopoeia-the use of words that sound reminiscent of the auditory impressions of the depicted phenomenon.
Characterizing each sound of speech, K. Balmont tries to give it semantic load, assign certain images to it: “O is the sound of delight, triumphant space is O: field, sea, space. Everything huge is defined through O, even if it is dark: groan, grief, sleep, midnight. Big as valleys and mountains, island, lake, cloud."
Speaking about the sound instrumentation of spoken phrases, the Russian writer Yevgeny Zamyatin wrote: “Every sound of the human voice, every letter, in itself evokes certain ideas in a person, creates sound images. I am far from attributing to each sound a strictly defined semantic or color meaning, however
The sound [r] clearly tells me about something loud, bright, red, hot, fast.
[l] - about something pale, blue, cold, smooth, light.
The sound [n] is about something tender, about snow, sky, night:
The sounds [d] and [t] are about something stuffy, heavy, about fog, about darkness, about something musty.
The sound [m] is about sweet, soft, about mother, about the sea.
[a]- is associated with latitude, distance, ocean, haze, scope.
C [o] - high, blue, womb:
S [i] - close, low, squeezing."
Alliteration is a phonetic device that consists of repeating a consonant sound or a combination of consonants within a verse or phrase, or less often within a larger segment of a literary text. So, for example, we encounter alliteration in the form of repeated sounds [l ] And [m ] in the opening couplet of O.E. Mandelstam’s poem “On pale blue enamel...”:
On bl
onel
slaughter uhm
Al
And,
Whichm
ysl
Andm
and in Aprill
e...
These repeated sounds give the poet's speech an appearance of euphony. In addition, sonorant consonants that sound easily and smoothly “support” the visual image that should be instilled in the reader by the author’s vocabulary and harmonize with it. Many lines of A.S. Pushkin’s poem “ Bronze Horseman", For example:
NotV
AV
hereV
asked and reV
ate,
TO
froml
ohmcl
OTo
ocha andcl
killing himself
ANDV
dR
ugh, how sV
eR
stay coolditch
getting married
She rushed towards the city.
<…>
Assonance - this is a phonetic device consisting of the repetition of a stressed vowel sound or several stressed vowels, concentrated within a verse or phrase, less often - within a larger segment of a literary text. Assonance (French assonance - consonance) is used in poetry as a means (voicing speech). Here is a bright, euphonious fragment of A.S. Pushkin’s speech from his “Tale of the Dead Princess and the Seven Knights”:
For Neve
I stand my grounde
th
Kinge
HIV Elise
th
Between te
m jumping around the world.
Ne
t like ne
T! He isO
crying loudly
And whenO
neitherO
sitO
n,
Question for everyoneO
with egO
wisee
n...<…>
Assonance is less commonalliteration , but often, when it appears in the text, it accompanies it. So, for example, in the lines below from another Pushkin work, “Tales of Tsar Saltan, of his glorious and mighty hero Prince Guidon Saltanovich and of the beautiful Swan Princess,” the assonance of the stressed vowel [at ] is combined with the alliteration of the consonant [With ], and consonant [j ]:
And in sumat
its emptyat
Yu
WITHat
yut diploma friendat
Yu…<…>
Assonance and alliteration can be figurative (onomatopoeic) and expressive, expressing expression and feelings.
For example:
The mermaid swam along the blue river,
Illuminated full moon;
And she tried to splash to the moon
Silvery foam waves.
The image of flowing water and the smooth movements of a swimming mermaid are conveyed through the sound “L”.
Wonderful Russian poet of the late 19th and early. 20th century K. Balmont said: “Every sound of speech is a small magical gnome.” (Write it down in a notebook). How do you understand the poet's words?
Students. With the help of sounds you can create various miracles.
Teacher. I invite you to the workshop. We will explore the expressive possibilities of sound writing in order to make sure of the truth of the poet’s words, we will try to see how, through a masterly combination of sounds or repetition of the same sound, masters of words help us get vivid auditory impressions, imagine the phenomena depicted, understand the thoughts and feelings of the author, as well as the character lyrical hero, we will try to present the results of the study in the form of short speeches.
Let's look at the texts:
What means of expressive speech are found in the text of the children's poetess?A.I. Tokmakova:
Hush, hush, hush, hush
Mice rustling on the roof.
Under the mouse gray flag
They march step by step.
The elders go ahead,
They sing the mouse anthem:
“Hush, hush, hush, hush!”
The tables are set for mice.
The rustle of the tires fades away,
At night let the mice feast
Hush, hush, hush, hush!
The repetition [w] depicts the rustling of mice, the rustling noise they can make.
Let us turn to A.S. Pushkin’s poem “Poltava”:
Quiet Ukrainian night.
The sky is transparent. The stars are shining.
Overcome your drowsiness
Doesn't want air.
Repeat [a] depicts the splendor, the great space, the depth, the height, the calm, peaceful breath of the Ukrainian night.
Now that the connection between sound and meaning is beyond doubt, let’s take a closer look at it. Let's conduct our own linguistic research.Let's try to determine the type of sound writing and its connection with meaning in works of the small folklore genre - in riddles. It is not by chance that we turn to folklore. The Russian people have always been very attentive to words, sensitively capturing the slightest nuances of both sound and meaning. We must know this and be proud of the glorious heritage of our great people. We work in groups. Each group must complete the following tasks:
Card 1
Read and guess the riddle. Emphasize sounds that convey a specific meaning. Determine the type of sound recording. Establish a correspondence between sound and meaning.
A pike walks around the creek, looking for the warmth of a nest, where the grass is thick for the pike.
Students. This is a braid. The riddle combines assonance and alliteration. The repetition of the hissing consonant sound [ш] and vowel sound [у] conveys the sounds of mowing.
Card 2
Read and guess the riddle. Emphasize sounds that convey a specific meaning. Determine the type of sound recording. Establish a correspondence between sound and meaning.
I go, I go, there is no trace; I cut and cut, there is no blood.
Students. This is a boat. The riddle uses assonance. The repetition of the vowel sound [u] helps convey her movement.
Card 3
Read and guess the riddle. Emphasize sounds that convey a specific meaning. Determine the type of sound recording. Establish a correspondence between sound and meaning.
Without arms, without legs he fights. Without arms, without legs, he knocks under the window, asking to come into the hut.
Students. It's the wind. The riddle uses assonance. The repetition of the vowel sound [у] helps to imagine the sound of the wind, its howling.
Card 4
Read and guess the riddle. Emphasize sounds that convey a specific meaning. Determine the type of sound recording. Establish a correspondence between sound and meaning.
I twist, I mutter, I don’t want to know anyone.
Students. It's a blizzard. The riddle uses alliteration. The repetition of the sounds [r, h] helps to describe her breathing, the whirling of snow, and gusts of wind.
Teacher. What did the conducted research?
Students. With the help of sound recording, you can convey a variety of sounds of nature, understand them, and get a variety of auditory impressions.
Associative warm-up No. 2
Teacher. We continue our research. Let's talk about the role of sound writing in poetic tesques, because poetry is the most vivid expression of all means of speech expressiveness, including sound writing. I offer you associative warm-up No. 2: listen to the poems, and then talk about the images that you imagined, about the feelings that arose. What sounds helped you? Draw a conclusion about the role of sound recording.
Was Balmont right when he believed that every sound of our speech is a “small magical gnome”?
Students. Of course, every sound of our speech is a “small magical gnome.” And today in the lesson we saw how, by skillfully combining sounds or repeating the same sound, masters of words help us get vivid auditory impressions, imagine the phenomena depicted, and paint magnificent pictures of our native nature in our imagination.
Algorithm:
2. Determine which identical or similar sounds predominate in the word.
3. if if
Consonants Vowels
Alliteration Assonance
Alexander Blok is the most melodious poet, realizing the music of his rhythms and colors, verbal instrumentation impartially, involuntarily: the alliterations and assonances of other modernists still sit on the internal pulsation somehow externally; and - they lag behind like armor; the arrangement and combination of Blok’s words involuntarily merge with the internal rhythm of poetry; purely Blokrepetitions words, a play of repetitions - an expression of the rhythm of the Muse, searching in repetitionsmuch the same unity of diversity:
Such transparent depth
Never seen
Such deep silence
Never heard 34 .
His more powerful weapon is the assonance of stressed vowels; for example: “the beads are lowered, the threads are knitted” (and-and-and), “And they blow with ancient beliefs” (e-e-e); “I’m waiting for the Beautiful Lady in the radiance of red lamps” (oo-ya-a-a-a-a-a).
Blok's poetry is even richer in alliteration; the first volume is filled with a variety of soft alliterations; there are a lot of alliterations on “b” in combination with “l”, with “mi” and with other consonants:
I'm wandering around (brzh) inthe walls of the monastery (st-st-na-na)
Joyless (rem)(st) (ny) and dark (ny) monk (in)
The pale dawn is just breaking (brzh-ber)
I'm watching flickeringsnow monk (snezh-sledzh, kaniya-monk) 39 .
The quatrain is instrumented involuntarily by three groups of sounds: “brzhz” - “st” - “monk”.
Let us turn to the texts of A. Blok. An example of text parsing. "Stranger"
"The girl was singing..."
"Night. Street…"
Lesson summary:
What is sound recording?
What sound writing technique is called alliteration?
What sound writing technique is called assonance?
What does the poet achieve using sound writing techniques?
What does poetic speech look like using sound writing techniques?
Sound recording , the use of secondary (not directly communicative) sound features of speech to express various emotions, additional meanings and etc.
Alliteration - repetition of identical or homogeneous consonants inpoem, giving it a special sound expressiveness
Assonance - reception of phonetic organization of the text, especiallypoetic: repetition of vowel sounds - as opposed to alliteration(repetition of consonants).
Teacher. I sincerely hope, guys, that after doing your research, you saw that the sound fabric of a poetic work helps readers understand the poet’s thoughts, feelings and mood of the lyrical hero. The poetic word seems to have its own taste, color, smell, volume. And feel this word, and not just understand it lexical meaning, to feel its taste, smell, its other meaning, often hidden, helps its SOUND. It is important to be able to hear, and when hearing, to understand the hidden meaning, which is not always on the surface. Hearing and understanding, enjoy the sound of the word. I wish that you are surrounded only by pleasant-sounding words, so that you want to utter only pleasant-sounding words.
To conclude the lesson, I will quote words from the book “Letters about the Good and the Beautiful” by one of the outstanding scientistsXXcentury, Academician D.S. Likhachev, included in the epigraph: “...Our language is the most important part of our general behavior in life. And by the way a person speaks, we can immediately and easily judge who we are dealing with... You need to learn good intelligent speech for a long time and carefully - listening, remembering, noticing, reading and studying. But even though it’s difficult, it’s necessary, necessary.”
The Russian language is one of the most diverse and rich in the world, its expressive potential is truly enormous. The text is given special emotionality and uniqueness various means verbal expressiveness used in the process of writing a work. The list of them is quite extensive.
Means of speech expression in various areas of life
It's no secret that the same idea can be presented in different ways. For example, a television announcer will say: “Today, heavy precipitation in the form of snow was observed in the region, accompanied by heavy winds.” And two old women drinking tea in the kitchen may use the following phrase in a conversation: “Yes, it’s piled up like snow!” And the wind just knocks you off your feet!” In fiction, this phenomenon can be presented as follows: “Snow flakes fell from the sky, like fluff from a torn pillow, scattered by a strong wind, and covered the frozen earth yearning for them in huge white snowdrifts...” The picture described different ways, is practically the same, however, each of the options is different from each other and has a different effect on the human subconscious. All means of verbal expressiveness of the language are to one degree or another based on the associative perception of the text. By looking through the statements presented, the reader imagines people who can express themselves in this way. Therefore, to characterize characters and create a certain flavor, authors of literary texts use different styles.
Phonetic means of expression
For the greatest impact on the imagination of the interlocutor or reader, viewer or listener, the most various ways. Means of speech expression literally permeate everything language levels. They can be observed both in phonetics and in syntax, which makes the understanding of the author’s intention deeper and more comprehensive. Phonetic means of speech expression are one of the most powerful ways of speech influence. The sensation of the sound image of a word occurs at the subconscious level, regardless of the person’s desire. That is why most poetic texts are based on the use of sound means of expression. An example is the following sentence: “The leaves rustled, their rustling seemed to come from everywhere.” Here, the repeated use of the sound “sh” in the phrase seems to create an accompaniment to a picture drawn by the imagination.
Alliteration
Phonetic speech expressiveness has some variability. Opposite means such as alliteration and assonance are widespread. They are based on the repetition in the text of the same or similar sounds according to some phonetic feature - consonants in alliteration and vowels in assonance. The phrase “The thunderstorm is thundering, the thunder is roaring” can be a vivid one, when reading it, a person subconsciously evokes a vivid image of crackling lightning.
Assonance
Writers and poets use vowel repetition a little less often. For example, assonance is presented in the sentence “It was all around flat field“- the repeated sound “o” creates a feeling of length and breadth of space.
Anaphora, epiphora in literary texts
There are also other figures of speech that serve to give greater expressiveness to the text. For example, anaphora and epiphora are unusual techniques. They are variants of repetitions of similar sounds, words or groups of words at the beginning (anaphora) or at the end (epiphora) of each parallel independent segment of speech. “This is the act of a man! This is the act of a real person!” - pressure and intensification with each repetition are observed with anaphora. Epiphora can most often be found at the end of poetic segments in the form of repetition of individual phrases or entire sentences. But you can also consider it using the example of a separate prose sentence: “Everything in this room was black: the walls were black, it was also black, the lamps were black and even bed sheets shimmered black. Only the bed was pure white, creating a striking contrast in the design.”
verbal expressiveness: allegory
The style of the Russian language presents a huge number of different tropes, or figures of speech. The main source of expressiveness is vocabulary. It is with its help that most of the author’s intentions in the text are realized. For example, an allegory is a kind of transfer of the meaning or characteristics of an object to another object, an image of an abstract concept through specific image. To explain what an allegory is, one can resort to considering traditional examples: the sun is a symbol of warmth, kindness; wind is a symbol of freedom, freethinking, inconstancy. Therefore, this principle is often used in speech to characterize people. “Oh, you sly fox!” - they say about someone as a joke. Or they can even say about a fickle personality like this: “His character is flighty, eccentric.” Thus, answering the question of what an allegory is, one should refer to symbolism, a comparison of objects by quality.
Allegory in parables, fairy tales, fables
The wonderful fabulist Krylov gives a colorful picture of the use of this technique. Although in fact he is the successor of Aesop. It was from his works that many of the plots of the Russian classic’s fables were taken. After all, everyone understands that when talking about a monkey trying on glasses on its tail, the author means an ignoramus, a person who is accustomed to treating everything superficially, judging hastily, without thinking about the meaning. Fairy tales in which animals are the heroes are best suited for children's perception. From their example, the child learns the basic laws of life: good returns a hundredfold, the dirty, the deceiver and the lazy will be punished, you cannot laugh at the pain of others, etc. Short fables or allegorical tales resemble table toasts in the Caucasian style, at the end of which the moral is deduced after the sentence drink "For...".
Allegory in poetry and lyrical songs
And what about Lermontov’s wonderful poems about a lonely sail running on the waves? After all, here the thoughtful reader imagines state of mind a restless personality that no one understands in his contemporary world. To this day, adults love many folk songs that allegorically describe human relationships using examples of plants - flowers, trees. “Why are you standing there, swaying, you thin rowan tree?” - the girl sings sadly, who herself experiences loneliness, dreams of joining her destiny with a reliable person, but for some reason cannot do this...
Litotes, hyperbole
Linguistic means of speech expression are also represented by other tropes. For example, there are also such opposite figures as hyperbole and litotes. The Russian language has a wide range of possibilities for gradual expression of qualities. These techniques denote artistic understatement (litotes) and exaggeration (hyperbole). The Russian language becomes brighter and more imaginative thanks to them. For example, such a property as the volume of the human body can be expressed both from an artificially understated side (“a waist the width of a bottle neck” - litotes) and from an exaggeration (“shoulders the size of doorway" - hyperbole). The Russian language even boasts stable expressions of this type: wasp waist, high as the Kolomna mile.
Synonyms and antonyms in works of art
The use of synonyms and antonyms in the text increases its emotionality and expressiveness. Words, semantically similar or different, diversify the work and reveal the author's intention from different sides. In addition, synonyms and antonyms simplify the perception of the text, as they clarify the meaning of individual semantic objects. But to their use orally and writing should be approached with some caution, since some dictionary synonyms lose the proximity of their meanings in a specific context, and contextual antonyms are not always antonymous in their main dictionary meaning. For example, the adjectives “fresh” and “stale”, when used with the noun “bread,” are antonyms. But, if we are talking about wind, then the antonym to the adjective “fresh” will be the word “warm”.
Irony in works of art
A very important expression is irony. Examples from the literature prove the high imagery of this technique. Pushkin, Lermontov, Dostoevsky - these Russian classics are true masters of using irony in literature. Zoshchenko's stories are still in demand among modern satirists. Some phrases of the classics that have become catchphrases are also used in everyday speech. For example, Zoshchenko’s expression: “Take back your cake!” or “Maybe I should also give you the keys to the apartment where the money is?” Absolutely everyone knows Ilf and Petrov. And the appeal to the gentlemen of the jury, which talks about breaking the ice, is still perceived with a great deal of irony. And the phrase “Who’s so big here?”, addressed to Everyday life to a child, has an ironic character, built on the use of antonymy. Irony is often present in the form of self-mocking by one of the characters or the main character on whose behalf the story is told. These are the detective stories of Daria Dontsova and other authors who also write in this style.
Various layers of vocabulary in fiction
Unstandardized vocabulary - jargon, neologisms, dialectisms, professionalisms, vernacular - has a high expressive potential in fiction. The use of words from these sections in the text, especially in direct speech, gives a figurative and evaluative description of the character. Every hero literary work is individual, and these lexical elements, carefully and appropriately used, reveal the character’s image from a variety of sides. For example, the intensity of Sholokhov’s novel “ Quiet Don” dialect vocabulary creates an atmosphere characteristic of a specific territory and a specific historical period. And the use of colloquial words and expressions in the characters’ speeches reveals their characters in the best possible way. It is also impossible to do without a special description of life on the ship. And in works where the heroes, albeit secondary ones, are former repressed people or people from the category of homeless people, it is simply impossible to avoid jargon and even argot.
Polyunion as a means of expression
Another stylistic figure of speech is polysyndeton. In another way, this technique is called polyunion and consists of using in the text homogeneous members or phrases connected by the same repeated conjunctions. This increases expressiveness by creating unplanned pauses in the sentence at the places where its parts are connected by auxiliary parts of speech, while increasing the importance of each element of the enumeration. Therefore, writers and poets often use polyunion in their works. Examples:
Thus, linguistic means of speech expressiveness - necessary element artistic speech. Without them, a literary text looks dry and uninteresting. But do not forget that the material should be reader-oriented. Therefore, the selection of linguistic means used in the work must be carried out in the most careful manner, otherwise the author risks being misunderstood and underestimated.
In a work of art, mainly in poetry, various techniques are used to enhance the phonetic expressiveness of speech. One of the main visual arts phonetics is stylistic device, consisting of selecting words that sound similar:
Peter is feasting. And proud and clear,
And his gaze is full of glory.
And his royal feast is wonderful.
(A.S. Pushkin)
The consonants [p], [p], [g], and vowels [o], [a] are repeated here. This makes the verse musical and bright.
Depending on the quality of the repeated sounds, alliteration and assonance are distinguished.
Alliteration called repetition of consonant sounds:
I am the free wind, I blow forever,
I wave the waves, I caress the willows,
In the branches I sigh, sighing, I grow dumb,
I cherish the grass, I cherish the fields.
(K.D. Balmont)
The repetition of consonant sounds [l], [l’], [v], [v’] creates an image of wind, the blowing of which is felt almost physically.
A.S. mastered this technique perfectly. Pushkin. In the novel “Eugene Onegin” he describes two ballroom dances:
The Mazurka sounded. It happened
When the mazurka thunder roared,
Everything in the huge hall was shaking,
The parquet cracked under my heel,
The frames shook and rattled;
Now it’s not the same: we are like ladies,
We slide on the varnished boards.
The selection of consonant sounds gives the reader a clear idea of the differences between Thais: the cluster of sounds [g], [p], [z], [z] when describing the first dance evokes a feeling of its swiftness and energy; the smoothness and slowness of the second dance is emphasized by the abundance of sounds [l], [m].
Assonance called repetition of vowel sounds. Assonance is usually based on only stressed vowels, since in an unstressed position the vowels are reduced:
Whisper, timid breathing, [o-o-a]
Trills of the nightingale, [uh]
Silver and swaying [oh-ah]
Sleepy stream, [oh-ah]
Night light, night shadows, [uh-uh]
Shadows without end, [uh]
A series of magical changes [uh-uh]
Sweet face [ee]
There are purple roses in the smoky clouds, [y-o-o-o]
Glint of amber, [oh-ah]
And kisses and tears, [a-o]
And dawn, dawn!...[ah-ah].
I fly quickly but on cast iron rails I think my thoughts.
(N.A. Nekrasov)
The sound [у] is repeated, creating the impression of a buzzing, rushing train.
In the poetic texts below, assonance is combined with alliteration, which creates a special musicality of the poetic lines:
But in the atonement of long punishment,
Having suffered the blows of fate,
Rus' has grown stronger. So heavy bastard
Crushing glass, forges damask steel.
(A.S. Pushkin)
Quiet Ukrainian night. The sky is transparent
The stars are shining.
To overcome your drowsiness He doesn’t want air.
(A.S. Pushkin)
Chalk, chalk but the whole earth,
To all limits.
The candle was burning on the table,
The candle was burning.
(B.L. Pasternak)
Another technique of sound writing (corresponding to the phonetic composition of the phrase with the picture depicted) is onomatopoeia- the use of words that sound reminiscent of auditory impressions of a given phenomenon.
For more than two centuries, the lines of A.P. have remained a model of onomatopoeia. Sumarokov, where the croaking of frogs is depicted as follows:
Oh, how, oh, how can we come to you, Gods forbid!
There are words that, when pronounced, resemble the actions they call: rustle, hiss, strum, snore, clatter, tick and so on. The sound of such words in artistic speech is enhanced by their phonetic surroundings:
Here the rain dripped insinuatingly.
(A. Tvardovsky)
The repetition of the consonance [cr] is reminiscent of the tapping of raindrops on an iron roof.
In a prank twister: From the clatter of hooves, dust flies across the field- The phonetic expressiveness of the main onomatopoeic word “Toyot” is enhanced by alliteration [t-p].
Rhyme - A striking feature of the verse is also built on the phonetic capabilities of the Russian phonetic system - on sound repetitions:
Mountain peaks Sleep in the darkness of the night.
Quiet valleys are full of fresh darkness.
(M.Yu. Lermontov)
The fields are compressed, the groves are bare,
There is fog and dampness from the water,
The sun quietly rolled down like a wheel behind the blue mountains.
(S.A. Yesenin)
The storm covers the sky with darkness,
Whirling snow whirlwinds;
Then, like a beast, she will howl,
She will cry like a child.
(A.S. Pushkin)
An important means of organizing poetic speech is stress; it rhythmically organizes the poem. Promotes
phonetic expressiveness of speech, rhythm and intonation. Rhythm is a certain way of dividing speech that promotes balance and euphony. With its help, a certain mood is created and the emotional and expressive properties of the text are emphasized. All types of phonetic means of speech expression make it possible to fully not only present the melodic essence of poetic speech, but also to reveal the meaning of the work.
Control questions
- 1. What is alliteration?
- 2. What is called assonance?
- 3. What is onomatopoeia?
- 4. What is rhyme?
Workshop
Task 1. Highlight assonance and alliteration. Explain phonetic means of speech expression.
Once a collapse broke out,
And fell with a heavy roar,
And he blocked off the entire gap between the rocks,
And the mighty shaft stopped the Terek...
Expressiveness speeches and its terms
The expressiveness of speech is understood as such features of its structure that make it possible to enhance the impression of what is said (written), to arouse and maintain the attention and interest of the addressee, to influence not only his mind, but also his feelings and imagination.
The expressiveness of speech depends on many reasons and conditions - strictly linguistic and extralinguistic.
One of the main conditions for expressiveness is the independence of thinking of the author of the speech, which presupposes a deep and comprehensive knowledge and understanding of the subject of the message. Knowledge extracted from any sources must be mastered, processed, and deeply comprehended. This gives the speaker (writer) confidence, makes his speech convincing and effective. If the author does not properly think through the content of his statement, does not comprehend the issues that he will present, his thinking cannot be independent, and his speech cannot be expressive.
To a large extent, the expressiveness of speech depends on the attitude of the author to the content of the statement. The inner conviction of the speaker (writer) in the significance of the statement, interest, and concern for its content gives speech (especially oral) an emotional coloring. An indifferent attitude to the content of the statement leads to a dispassionate presentation of the truth, which cannot influence the feelings of the addressee.
In direct communication, the relationship between the speaker and the listener is also important, the psychological contact between them, which arises primarily on the basis of joint mental activity: the addresser and the addressee must solve the same problems, discuss the same issues: the first - by presenting the topic of his message, the second - by following for the development of his thoughts. In establishing psychological contact, what is important is the attitude of both the speaker and the listener to the subject of speech, their interest, and indifference to the content of the statement.
In addition to deep knowledge of the subject of the message, expressive speech also presupposes the ability to convey knowledge to the addressee and arouse his interest and attention. This is achieved by careful and skillful selection of linguistic means, taking into account the conditions and tasks of communication, which in turn requires a good knowledge of the language, its expressive capabilities and features of functional styles.
One of the prerequisites for verbal expressiveness is skills that allow you to easily select the language means needed in a particular act of communication. Such skills are developed through systematic and deliberate training. The means of training speech skills is careful reading of exemplary texts (fiction, journalistic, scientific), close interest in their language and style, attentive attention to the speech of people who can speak expressively, as well as self-control (the ability to control and analyze one’s speech from the point of view of its expressiveness ).
The verbal expressiveness of an individual also depends on the conscious intention to achieve it, on the author’s target setting for it.
The expressive means of language usually include tropes (figurative use of linguistic units) and stylistic figures, calling them figurative and expressive means. However, the expressive capabilities of language are not limited to this; in speech, any unit of language at all levels (even a single sound), as well as non-verbal means (gestures, facial expressions, pantomime) can become a means of expressiveness.
Phonetic means of expression. Euphony of speech
As you know, spoken speech is the main form of existence of language. The sound organization of speech and the aesthetic role of sounds are dealt with by a special branch of stylistics - phonics. Phonics evaluates the peculiarities of the sound structure of a language, determines the conditions of euphony characteristic of each national language, explores various techniques for enhancing the phonetic expressiveness of speech, and teaches the most perfect, artistically justified and stylistically appropriate sound expression of thought.
The sound expressiveness of speech lies primarily in its euphony, harmony, in the use of rhythm, rhyme, alliteration (repetition of the same or similar consonant sounds), assonance (repetition of vowel sounds) and other means. Phonics is primarily interested in the sound organization of poetic speech, in which the importance of phonetic means is especially great. Along with this, the sound expressiveness of artistic prose and some genres of journalism (primarily on radio and television) is also explored. In non-fiction speech, phonics solves the problem of the most appropriate sound organization of linguistic material, facilitating the accurate expression of thought, since correct use phonetic means of language ensures quick (and without interference) perception of information, eliminates discrepancies, eliminates unwanted associations that interfere with the understanding of statements. For fluency of understanding great importance has euphony of speech, i.e. a combination of sounds that is convenient for pronunciation (articulation) and pleasant to the ear (musicality). One of the ways to achieve sound harmony is a certain alternation of vowels and consonants. Moreover, most combinations of consonants contain the sounds [m], [n], [r], [l], which have high sonority. Consider, for example, one of the poems by A.S. Pushkin:
Driven by spring rays,
There is already snow from the surrounding mountains
Escaped through muddy streams
To the flooded meadows.
Nature's clear smile
Through a dream greets the morning of the year:
The skies are shining blue.
Still transparent, forests
It's like they're turning green.
Bee for field tribute
Flies from a wax cell...
The sound instrumentation of this poem is interesting. Here, first of all, there is a uniform combination of vowels and consonants (and their ratio itself is approximately the same: 60% consonants and 40% vowels); an approximately uniform combination of voiceless and voiced consonants; There are almost no cases of accumulation of consonants (only two words contain, respectively, three and four consonant sounds in a row - [skvos "] and [fstr" and `ch "aj ьт]. All these qualities together give the verse a special musicality and melody. They are also inherent the best prose works.
However, the euphony of speech can often be disrupted. There are several reasons for this, the most common of which is the accumulation of consonant sounds: a sheet of a defective book: [stbr], [ykn]; competition for adult builders: [revzr], [xstr]. Also M.V. Lomonosov advised “to avoid obscene and unpleasant to the ear combination of consonants, for example: the gaze is nobler than all senses, because six consonants placed side by side - vstv-vz, the tongue is very stuttering.” To create euphony, the number of sounds included in a consonantal combination, their quality and sequence are important. In the Russian language (this has been proven), the combination of consonant sounds obeys the laws of euphony. However, there are words that include a larger number of consonants compared to the normative ones: meeting, disheveled, stick; There are lexemes containing two or three consonant sounds at the end, which makes pronunciation much more difficult: spectrum, meter, ruble, callous, acquaintances, etc. Usually, when consonants coincide in oral speech, in such cases additional “syllabicity” develops, a syllabic vowel appears: [rubl "], [m" etar], etc. For example: “This Smury came to the theater two years ago...” (Yu. Trifonov); “In Saratov there was a play staged by Sergei Leonidovich back in the spring” (Yu. Trifonov);
The second reason that disrupts the euphony of speech is the accumulation of vowel sounds. Thus, the opinion that the more vowel sounds in a speech, the more harmonious it is, is incorrect. Vowels produce euphony only in combination with consonants. The combination of several vowel sounds in linguistics is called gaping; it significantly distorts the sound structure of Russian speech and makes articulation difficult. For example, the following phrases are difficult to pronounce: “A letter from Olya and Igor”; “Such changes are observed in the aorist”; the title of V. Khlebnikov's poem "The Lay of El".
The third reason for the violation of euphony is the repetition of identical combinations of sounds or identical words: “...They cause the collapse of relationships” (N. Voronov). Here, in the words next to each other, the combination -sheni- is repeated.
True, in poetic speech it can be very difficult to distinguish between a violation of euphony and paronomasia - the deliberate play of words that are similar in sound. For example:
Euphony is also reduced due to the monotonous rhythm of speech created by the predominance of monosyllabic or, on the contrary, polysyllabic words. One example is the creation of so-called palindromes (texts that have the same reading both from beginning to end and from end to beginning):
Poor phonetic organization of speech, difficult articulation, and unusual sound of phrases distract the reader’s attention and interfere with the listening comprehension of the text. Russian poets and writers have always closely monitored the sound side of speech and noted the shortcomings of the sound design of a particular thought. For example, M. Gorky wrote that young authors often do not pay attention to the “sound vagaries” of live speech, and gave examples of violation of euphony: actresses with passionate looks; they wrote poetry, cleverly choosing rhymes, etc. M. Gorky also noted that the annoying repetition of the same sounds is undesirable: “She unexpectedly found that our relationship needed - even necessary - to be understood differently.” V.V. Mayakovsky in the article "How to make poetry?" gives examples of combinations at the junction of words, when a new meaning arises that was not noticed by the authors of poetic texts; in other words, amphiboly arises at the phonetic level: “... in Utkin’s lyric poem, placed in “Spotlight”, there is a line:
he will not come, just as the summer swan will not come to the winter lakes. It turns out to be a certain “belly.”
Amphiboly on sound level can also be noted in A. Voznesensky’s poem “Brighton Beach”:
What is your fault, Willie? What am I, Willie, to blame for? Is it you, is it us? Are we, are you? - Heaven doesn't speak.
The aesthetic perception of texts is disrupted when used in speech active participles present and past tenses of the type: dragging, dragging, wincing, wincing, grinding - since they seem dissonant.
Thus, every native speaker should try to avoid the obsessive repetition of identical and similar sounds, the use of dissonant word forms, difficult to pronounce combinations of sounds when connecting words, and skillfully use the expressive capabilities of the sounding side of speech.
Vocabulary and phraseology as a basicth source of speech expressiveness
Expressive possibilities of words
are connected, first of all, with its semantics, with its use in figurative meaning. There are many varieties of figurative use of words, their common name is tropes (Greek tropos - turn; turnover, image). The trope is based on a comparison of two concepts that seem close to our consciousness in some respect. The most common types of tropes: comparison, metaphor, metonymy, synecdoche, hyperbole, litotes, personification, epithet, periphrasis. Thanks to the figurative metaphorical use of the word, figurative speech is created. Therefore, tropes are usually classified as means of verbal imagery, or figurative ones.
Metaphorization, one of the most common ways of creating imagery, covers a huge number of commonly used, neutral and stylistically marked words, primarily polysemantic ones. The ability of a word to have not one, but several meanings of a conventional nature, as well as the possibility of updating its semantics, its unusual, unexpected rethinking, lies at the basis of lexical figurative means.
The strength and expressiveness of tropes lies in their originality, novelty, and unusualness: the more unusual and original a particular trope is, the more expressive it is. Paths that have lost their imagery over time (for example, metaphors of a general linguistic nature such as keen vision, the clock is running, a river branch, a bottle neck, warm relationships, iron character or comparisons that turned into speech cliches, like being reflected as in a mirror; cowardly as a hare; runs like a red thread), do not contribute to the expressiveness of speech.
Vocabulary with emotionally expressive overtones is especially expressive. It affects our feelings and evokes emotions. Let us remember, for example, what vocabulary was used by the excellent expert on native speech I.S. Turgenev in the novel “Fathers and Sons” to characterize the meager, miserable economy of the peasants: villages with low huts; crooked threshing sheds; worn-out men on bad nags, etc.
Expressiveness of speech is achieved through a motivated, purposeful collision of words of different functional, stylistic and emotionally expressive colors. For example, from S. Yesenin:
And a swarm of thoughts pass through my head:
What's the homeland?
Are these really dreams?
After all, for almost everyone here I’m a gloomy pilgrim
God knows from what distant side.
And it's me!
I, a citizen of the village,
Which will be famous only for that,
That a woman once gave birth here
Russian scandalous piita.
Here the bookish words “duma”, “homeland”, “pilgrim”, “piit” are combined with the colloquial “God knows”, “really”, the colloquial “baba”, and the official business “citizen”.
Motivated clash of words various fields usage is widely used as one of the most striking comic means. I will give examples from newspaper feuilletons: “Where did Tamara’s mentor, a very young girl, come from such a reverent readiness to immediately be fooled by the first charlatan she comes across?” (combination of book poetic vocabulary with colloquial vocabulary); “However, what was the end of the work of the investigative team, which spent more than two years trying to punish Yambulatov?” (simple “slammed” and book “punish”).
In addition to metaphorization and emotional-expressive coloring of the word, polysemantics in their non-figurative meanings, homonyms, synonyms, antonyms, paronyms, vocabulary of limited use, archaisms, neologisms, etc. are used as means of expressiveness.
Polysemantic words and homonyms are often used for ironic and parody purposes, to create puns. To do this, homonym words or different meanings of the same word deliberately collide in the same context. For example, in the sentence “They scolded the play, they say, it went, but the play still went” (E. Krotkiy), the author collides two homoforms: 1) went - short form the adjective vulgar and 2) went - the past tense form of the verb go. Or: And they explained for a long time, // What a sense of duty means (A. Barto).
Many jokes and puns are based on individual author's homonyms: baranka - sheep; carelessness (tech.) - lack of a stove in the apartment, steam heating; chickenpox (disapproved) - frivolous girl; decanter - husband of the countess, etc.
The skillful use of synonyms allows us to pay attention to this or that detail, express a certain attitude towards the named object or phenomenon, evaluate it and, therefore, enhance the expressiveness of speech. For example: “Kudrin laughed. Everything that happened seemed to him like wild nonsense, absurdity, chaotic nonsense, which you just have to give up on and it will crumble, dissipate like a mirage (B. Lavrenev). Using the technique of stringing synonyms nonsense - absurdity - nonsense, the author achieves great expressiveness of the narrative.
Synonyms can perform the function of comparison and even opposition of the concepts they denote. At the same time, attention is drawn not to what is common to similar objects or phenomena, but to the differences between them: “Nikitin wanted... not just to think, but to reflect” (Yu. Bondarev).
As means of expression To create contrast and sharp opposition, antonyms are used in speech. They underlie the creation of antithesis (Greek antithesis - opposition) - a stylistic figure built on a sharp contrast of words with opposite meanings. This stylistic device is widely used by poets, writers, and publicists to add emotionality and extraordinary expressiveness to speech. Thus, the prologue to A. Blok’s poem “Retribution” is entirely built on the opposition of antonymous words beginning - end, hell - heaven, light - darkness, holy - sinful, heat - cold, etc.:
Life is without beginning and end...
Know where the light is, and you will understand where the darkness is.
Let everything pass slowly,
What is sacred in the world, what is sinful in it,
Through the heat of the soul, through the coolness of the mind.
Antithesis allows you to achieve aphoristic precision in the expression of thoughts. It is no coincidence that antonymy underlies many proverbs, sayings, figurative expressions, and catchphrases. For example: “An old friend is better than two new ones”; “A small deed is better than a big idleness”; "Learning is light and ignorance is darkness"; “Pass us more than all sorrows and lordly anger and lordly love” (A. Griboyedov). Antonyms in such cases, creating contrast, more clearly emphasize the idea, allow you to pay attention to the most important thing, and contribute to the brevity and expressiveness of the statement.
Paronymous words have considerable expressive potential. They serve as a means of creating humor, irony, satire, etc. For example: “When is your wedding procession? - What are you talking about? What kind of card?” (V. Mayakovsky).
A striking means of expressiveness in artistic and journalistic speech are individual author’s neologisms (occasionalisms), which attract the attention of the reader (or listener) with their surprise, unusualness, and exclusivity. For example:
Why are you looking away, America?
What are your announcers muttering about?
What do they intend to explain to you?
super-experienced TV nightingales?
(R. Rozhdestvensky);
“Tankophobia has disappeared. Our soldiers are hitting the “tigers” with direct fire” (I. Ehrenburg).
Lexical repetitions enhance the expressiveness of speech. They help highlight an important concept in the text, delve deeper into the content of the statement, and give the speech an emotionally expressive coloring. For example: “A hero is a protector, a hero is a winner, a hero is a bearer of all high quality, in which the popular imagination dresses him” (A.N. Tolstoy); “In war you need to be able to endure grief. Grief fuels the heart like fuel fuels an engine. Grief fuels hatred. Vile foreigners captured Kyiv. This is the grief of each of us. This is the grief of the entire people” (I. Ehrenburg).
Often the same word, used twice, or words of the same root are contrasted in context and strengthen the subsequent gradation, giving the context special significance, aphorism: “Immeternal for times, I am eternal for myself” (E. Baratynsky); “I would be glad to serve, but being served is sickening” (A. Griboyedov). It is no coincidence that tautological and pleonastic combinations underlie many phraseological units, proverbs and sayings: I don’t know; saw the views; forever and ever; if only; Leave no stone unturned; out of the blue; it was overgrown with its former days; friendship is friendship, and service is service, etc.
A living and inexhaustible source of expressiveness of speech are phraseological combinations, characterized by imagery, expressiveness and emotionality, which allows not only to name an object or phenomenon, but also to express a certain attitude towards it. It is enough to compare, for example, the phraseological phrases used by M. Gorky “to give pepper”, “to tear the skin” with equivalent words or phrases (scold, scold, punish; mercilessly, cruelly exploit, oppress someone) to see how the first more expressive and figurative than the second:
“But when will we come to the volost?...
- You're a joker! He, the police officer, will give you some pepper”;
“He owns... he has hundreds of thousands of money, he has steamships and barges, mills and lands... he skins a living person...”.
Due to their imagery and expressiveness, phraseological units can be used unchanged in the familiar lexical environment. For example: “Chelkash looked around triumphantly:
“Of course, we swam out!.. W-well, you’re happy, you steros cudgel!..” (M. Gorky).
In addition, phrasemes are often used in a transformed form or in an unusual lexical environment, which allows them to increase their expressive capabilities. Each artist’s methods of using and creatively processing phraseological units are individual and quite diverse. So, for example, Gorky used the phrase “bend to death” (cruelly exploit, tyrannize) in an unusual context, semantically changing it: “Next to him, the old soldier... walked the Lawyer, bent to death, without a hat ... with his hands deep in his pockets.” The writer deliberately breaks down the common linguistic phraseological phrase “measure with his eyes” with the help of explanatory words, as a result of which its figurative core appears more clearly: “He measured Efimushka from head to toe with narrowed eyes lit up with anger.” A favorite technique for transforming phraseological units in Gorky’s early stories is to replace one of the components: abyss from the eyes (dictionary phraseological unit - disappear from the eyes), hang one’s head (drop in spirit), tear one’s nerves (fray one’s nerves), etc.
Let’s compare V. Mayakovsky’s methods of using phraseological units: “They won’t leave one stone unturned, they won’t leave a leaf on a leaf, they’ll beat you” (the phraseological unit is formed according to the model presented in the same context: stone upon stone); “I would close America, clean it up a little, and then open it again” (development of the motive given by the phraseological unit).
The expressive capabilities of phraseological units are increased by their ability to enter into synonymous relationships with each other. Reducing phrasemes into a synonymous series or simultaneous use of lexical and phraseological synonyms significantly enhances the expressive coloring, etc.................
Topic: “Sound means of expression. Graphic means of expression."
!!! Get acquainted with the theory of the issue and apply your knowledge in practice.
Theoretical materials. Part No. 1. Sound means of expression.
Theoretical materials. Part No. 2 Graphic techniques of expressiveness.
First of all, let's say that Russian graphics have huge opportunities in terms of enhancing the imagery of the text fiction, and these possibilities are constantly expanding due to the development of modern typography and the continuous search of artists for new visual techniques.
By now the set of these techniques is quite rich: 1) curly text layout
, 2) change fonts
, 3) consumption graphic highlighters
words ( italics, discharge
etc.), special techniques inclusion
into text numerals and numerical notations
and so on.
I,
rocking
ropes,
in chenille
without discriminating
blue tones
and sweet head,
I fly in space
winged like a bird,
between the purple bushes!
But in the tempting gaze
I know, it shines, the alley, the lightning!
And with happiness without words!
(V. Bryusov)
And here another graphic technique unusual arrangement of lines - poems with a “secret”: the work is read as three separate independent texts (all in its entirety, right part separately, left side separately).
God is well fed in the sky,
Joy to you
May he grant
Honor and glory -
Right to my husband
Yes he is cooking
Good God,
precious light,
yes keep it
Hello Martha -
your glory
look south...
(S. Polotsky)
Speaking about the graphic means of poetic language, one cannot, of course, help but recall chopped line (“ladder”) by V. Mayakovsky
. The essence of this technique, as is known, is the graphic, visual highlighting of accent groups while maintaining traditional verse connections.
Word -
commander
human power.
March!
To time
the cannonballs exploded.
(“To Sergei Yesenin”)
A. Bely had a special passion for visual effects - creator of “figured prose”. This method of text design was not a formalistic decoration for the writer, but additional means emphasizing the meaning, with a visual image of the narrator’s experience: the image of a ball (in the first of the passages below).
… And
would -
ar,
exceeded
shining-
we are the sun, at
these pictures
nah in
to me
went...
("Notes of an Eccentric")
Tasks for independent work
Task No. 1
Determine what sound means of expression the author uses in this text and for what purpose. What specific effect does it achieve? How are the techniques used related to the idea (main thought) and the image of the lyrical hero?
REEDS
Midnight in the swamp wilderness
The reeds rustle barely audibly, silently.
What are they whispering about? What are they talking about?
Why are the lights burning between them?
They flicker, blink - and again they are gone.
And again the wandering light began to appear.
At midnight sometimes the reeds rustle.
Toads nest in them, snakes whistle in them.
A dying face trembles in the swamp.
That crimson month sadly drooped.
And it smelled like mud. And the dampness creeps in.
The quagmire will lure you, squeeze you, suck you in.
"Whom? For what?" - the reeds say, -
Why are the lights burning between them?
But the sad month silently drooped.
Does not know. He bows his face lower and lower.
And, repeating the sigh of the lost soul,
The reeds rustle sadly, silently.
Task No. 2
Analyze the sound features of the picture depicted by A. Pushkin.
The Mazurka sounded. It happened
When the mazurka thunder roared,
Everything in the huge hall was shaking,
The parquet cracked under the heel,
The frames shook and rattled:
Now it’s not the same, and we, like ladies,
We slide on the varnished boards.
Task No. 3
Try creating small text using graphic techniques to create an image.
Theme of the text is Smile.
№ 1 – 30 points
№ 2 – 20 points
№ 3 – 50 points
The overall rating of the work is 100 points.