The artistic style of speech as a functional style is used in fiction, which performs a figurative-cognitive and ideological-aesthetic function. To understand the features of the artistic way of understanding reality, thinking that determines the specifics artistic speech, we must compare it with the scientific way of cognition, which determines the characteristic features of scientific speech.
Fiction, like other types of art, is characterized by a concrete figurative representation of life, in contrast to the abstract, logical-conceptual, objective reflection of reality in scientific speech. A work of art is characterized by perception through the senses and the re-creation of reality; the author strives to convey, first of all, his personal experience, your understanding and comprehension of a particular phenomenon.
The artistic style of speech is characterized by attention to the particular and random, followed by the typical and general. Remember the well-known “Dead Souls” by N.V. Gogol, where each of the shown landowners personifies certain specific human qualities, expresses a certain type, and all together they were the “face” of the author’s contemporary Russia.
The world of fiction is a “recreated” world; the reality depicted is, to a certain extent, the author’s fiction, which means that in the artistic style of speech the most important role is played by the subjective element. The entire surrounding reality is presented through the author's vision. But in a literary text we see not only the world of the writer, but also the writer in this world: his preferences, condemnation, admiration, rejection, etc. Associated with this is the emotionality and expressiveness, metaphor, and meaningful diversity of the artistic style of speech. Let’s analyze a short excerpt from L. N. Tolstoy’s story “A Foreigner Without Food”:
“Lera went to the exhibition only for the sake of her student, out of a sense of duty. "Alina Kruger. Personal exhibition. Life is like loss. Free admission". A bearded man and a lady were wandering in an empty hall. He looked at some of the work through a hole in his fist; he felt like a professional. Lera also looked through her fist, but did not notice the difference: all the same naked men on chicken legs, and in the background there were pagodas on fire. The booklet about Alina said: “The artist projects a parable world onto the space of the infinite.” I wonder where and how they teach how to write art criticism texts? They're probably born with it. When visiting, Lera loved to leaf through art albums and, after looking at a reproduction, read what a specialist wrote about it. You see: a boy covered an insect with a net, on the sides there are angels blowing pioneer horns, in the sky there is a plane with the signs of the Zodiac on board. You read: “The artist views the canvas as a cult of the moment, where the stubbornness of details interacts with an attempt to comprehend everyday life.” You think: the author of the text spends little time outdoors, relies on coffee and cigarettes, his intimate life is somehow complicated.”
What we have before us is not an objective presentation of the exhibition, but a subjective description of the heroine of the story, behind whom the author is clearly visible. The story is built on the combination of three artistic plans. The first plan is what Lera sees in the paintings, the second is an art history text interpreting the content of the paintings. These plans are expressed stylistically in different ways; the bookishness and abstruseness of the descriptions are deliberately emphasized. And the third plan is the author’s irony, which manifests itself through showing the discrepancy between the content of the paintings and the verbal expression of this content, in the assessment of the bearded man, the author of the book text, and the ability to write such art criticism texts.
As a means of communication, artistic speech has its own language - a system of figurative forms expressed by linguistic and extralinguistic means. Artistic speech along with non-artistic speech constitute two levels national language. The basis of the artistic style of speech is the literary Russian language. The word in this functional style performs a nominative-figurative function. Here is the beginning of V. Larin’s novel “Neuronal Shock”:
“Marat’s father Stepan Porfiryevich Fateev, an orphan from infancy, was from a family of Astrakhan binders. The revolutionary whirlwind blew him out of the locomotive vestibule, dragged him through the Mikhelson plant in Moscow, machine gun courses in Petrograd and threw him into Novgorod-Seversky, a town of deceptive silence and bliss.”
In these two sentences, the author showed not only a segment of individual human life, but also the atmosphere of the era of enormous changes associated with the revolution of 1917. The first sentence gives knowledge of the social environment, material conditions, human relations in the childhood years of the life of the father of the hero of the novel and his own roots. The simple, rude people who surrounded the boy (a bindyuzhnik is the colloquial name for a port loader), the hard work that he saw from childhood, the restlessness of orphanhood - this is what stands behind this proposal. And the next sentence includes private life in the cycle of history. Metaphorical phrases the revolutionary whirlwind blew..., dragged..., threw... they liken human life to a certain grain of sand that cannot withstand historical cataclysms, and at the same time convey the element of the general movement of those “who were nobody.” In a scientific or official business text, such imagery, such a layer of in-depth information is impossible.
The lexical composition and functioning of words in the artistic style of speech have their own characteristics. The number of words that form the basis and create the imagery of this style primarily includes figurative means of Russian literary language, as well as words that realize their meaning in the context. These are words with a wide range of usage. Highly specialized words are used to a small extent, only to create artistic authenticity when describing certain aspects of life. For example, L.N. Tolstoy in War and Peace used special military vocabulary when describing battle scenes; We will find a significant number of words from the hunting vocabulary in “Notes of a Hunter” by I.S. Turgenev, in the stories of M.M. Prishvina, V.A. Astafiev, and in “The Queen of Spades” A.S. Pushkin has many words from his vocabulary card game etc. In the artistic style of speech, the verbal ambiguity of the word is very widely used, which opens up additional meanings and semantic shades 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. Let us give an example of the use of such a technique by B. Okudzhava in “The Adventures of Shipov”:
“In Evdokimov’s tavern they were about to turn off the lamps when the scandal began. The scandal started like this. At first everything in the hall looked fine, and even the tavern floorman, Potap, told the owner that today God had mercy - not a single broken bottle, when suddenly in the depths, in the semi-darkness, in the very core, there was a buzz like a swarm of bees.
“Fathers of light,” the owner lazily marveled, “here, Potapka, is your evil eye, damn it!” Well, you should have croaked, damn it!”
The emotionality and expressiveness of the image come to the fore in a literary text. Many words, which in scientific speech act as clearly defined abstract concepts, in newspaper and journalistic speech - as socially generalized concepts, in artistic speech carry concrete sensory ideas. Thus, the styles functionally complement each other. For example, adjective lead in scientific speech he realizes his direct meaning (lead ore, lead bullet), and the artistic one forms an expressive metaphor ( lead clouds, lead night, lead waves). Therefore, in artistic speech important role play phrases that create a certain figurative representation.
Artistic speech, especially poetic speech, is characterized by inversion, i.e. changing the usual order of words in a sentence in order to enhance the semantic significance of a word or give the entire phrase a special stylistic coloring. An example of inversion is the famous line from A. Akhmatova’s poem “I still see Pavlovsk as hilly...”. The author's word order options are varied and subordinate to the general concept.
The syntactic structure of artistic speech reflects the flow of figurative and emotional impressions of the author, so here you can find a whole variety of syntactic structures. Each author submits language means fulfillment of their ideological and aesthetic tasks. So, L. Petrushevskaya, to show disorder, “troubles” family life heroine of the story “Poetry in Life”, includes in one sentence several simple and complex sentences:
“In Mila’s story, then everything went downhill, Mila’s husband in the new two-room apartment no longer protected Mila from her mother, her mother lived separately, and there was no telephone either here or here - Mila’s husband became his own man and Iago and Othello and with mockingly, from around the corner I watched as Mila was accosted on the street by men of his type, builders, prospectors, poets, who did not know how heavy this burden was, how unbearable life was if you fought alone, since beauty is not a helper in life, This is how one could approximately translate those obscene, desperate monologues that the former agronomist, and now Researcher, Mila’s husband, shouted both on the streets at night, and in his apartment, and got drunk, so Mila hid with her young daughter somewhere, found shelter for herself, and the unfortunate husband beat furniture and threw iron pans.”
This sentence is perceived as an endless complaint from countless unhappy women, as a continuation of the theme of a woman’s sad lot.
In artistic speech, deviations from structural norms are also possible, due to artistic actualization, i.e. the author highlighting some thought, idea, feature that is important for the meaning of the work. They can be expressed in violation of phonetic, lexical, morphological and other norms. This technique is especially often used to create a comic effect or a bright, expressive artistic image. Let's consider an example from the work of B. Okudzhava “The Adventures of Shipov”:
“Oh, dear,” Shipov shook his head, “why do you do this? No need. I see right through you, mon cher... Hey, Potapka, why did you forget the man on the street? Lead here, waking up. Well, Mr. Student, how do you rent out this tavern? It's dirty. Do you think I like it?... I’ve been to real restaurants, sir, I know... Pure empire... But you can’t talk to people there, but here I can learn something.”
The speech of the main character characterizes him very clearly: not very educated, but ambitious, wanting to give the impression of a gentleman, gentleman, Shipov uses elementary French words(mon cher) along with vernacular waking up, waking up, here, which do not correspond not only to the literary, but also to the colloquial form. But all these deviations in the text serve the law of artistic necessity.
Language fiction sometimes mistakenly called literary language*. However, in reality, what is characteristic of artistic speech is that all linguistic means can be used here, and not only units of functional varieties of the literary language, but also elements of vernacular, social and professional jargons, and local dialects. The writer subordinates the selection and use of these means to the aesthetic goals that he strives to achieve by creating his work.
In a literary text, various means of linguistic expression are fused into a single, stylistically and aesthetically justified system, to which normative assessments attached to individual functional styles of the literary language are not applicable.
One of the features of the artistic style is the use of figurative language to accomplish the tasks set by the artist ( It's a sad time! The charm of the eyes... - A. Pushkin). The word in artistic speech is a means of creating images and acts as a means of the artistic meaning of the work.
The selection of words, phrases, and the construction of the entire work of art are subject to the author’s intention.
To create an image, a writer can use even the simplest linguistic means. So in A. Chekhov’s story “The Long Tongue,” the character of the heroine, deceitful, stupid, frivolous, is created through the repetition of words in her speech (But, Vasechka, what mountains there are! Imagine high, high mountains, a thousand times higher than church... Above there is fog, fog, fog... Below there are huge stones, stones, stones...).
Literary speech has a high emotional ambiguity; the author in one text can deliberately “push” different meanings the same word (The one who, having sipped passion, only gulped down mud. - M. Tsvetaeva).
The meaning of a literary work is multi-valued, hence the possibility of different readings of a literary text, different interpretations, and different assessments.
We can say that artistic style activates the entire arsenal of linguistic means.
Features of conversational style.
The conversational style is so different from all others that scientists have even proposed a different name for it - colloquial speech. The conversational style corresponds to the everyday sphere of communication, uses the oral form, allows all types of speech (monologue, dialogue, polylogue), the method of communication here is personal. In the colloquial style, in contrast to the oral form of other styles, deviations from literary pronunciation are quite significant.
The colloquial variety of the literary language is used in various types everyday relationships between people, subject to ease of communication. Conversational speech is distinguished from bookish and written speech not only by its form, but also by such features as unpreparedness, unplannedness, spontaneity, and direct contact between participants in communication.
The spoken variety of the literary language, unlike the bookish and written one, is not subject to targeted normalization, but it has certain norms as a result of speech tradition. This type of literary language is not so clearly divided into speech genres. However, here, too, various speech features can be distinguished - depending on the conditions in which communication takes place, on the relationship of the participants in the conversation, etc.
Naturally, a lot of everyday vocabulary is used in a conversational style ( kettle, broom, apartment, sink, faucet, cup). Many words have a connotation of disdain, familiarity, condescension ( get pissed off - learn, scald - talk).
In this style, many words acquire a “multicomponent” meaning, which is very clearly seen in the examples: How are you? -Fine. How was your trip? -Fine. No headache? -Fine. To yousimple hamburger or double? Thissimple socks or synthetic? Please give me a general notebook andsimple .
Gerunds and participles are almost never used in conversational style, but particles are used very often here, well, that means as well as simple, non-union complex and incomplete sentences.
The vocabulary of conversational style is predominantly of everyday content, specific. Conversational style is characterized by economy speech means(five-story building, condensed milk, utility room, Kat, Van, etc.). Phraseologisms that are expressive and depressing are actively used (like water off a duck's back, play a box that is difficult to lift, play the fool, wash your hands, etc.). Words with different stylistic connotations are used (interweaving of bookish, colloquial, colloquial words) - the Zhiguli car is called “Zhiguli”, “Zhiguli”.
With apparent freedom in choosing words and constructing sentences, the conversational style is characterized by a large number of standard phrases and expressions. This is natural, because Everyday situations (traveling by transport, communicating at home, shopping in a store, etc.) are repeated, and along with them, linguistic ways of expressing them are fixed.
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 of the Russian language.
Depending on the scope of the language, the content of the utterance, the situation and the goals of communication, several functional-style varieties, or styles, are distinguished, characterized by a certain system of selection and organization of linguistic means in them.
Functional style is a historically established and socially conscious variety of a literary language (its subsystem), functioning in a certain sphere of human activity and communication, created by the peculiarities of the use of linguistic means in this sphere and their specific organization.
The classification of styles is based on extralinguistic factors: the scope of use of the language, the subject matter determined by it and the goals of communication. The areas of application of language correlate with types of human activity corresponding to forms of social consciousness (science, law, politics, art). Traditional and socially significant areas of activity are: scientific, business (administrative and legal), socio-political, artistic. Accordingly, they also distinguish between the styles of official speech (book): scientific, official business, journalistic, literary and artistic (artistic). They are contrasted with the style of informal speech - colloquial and everyday.
The literary and artistic style of speech stands apart in this classification, since the question of the legality of its isolation into a separate functional style has not yet been resolved, since it has rather blurred boundaries and can use the linguistic means of all other styles. The specificity of this style is also the presence in it of various visual and expressive means to convey a special property - imagery.
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 features 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 general concept"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”.
CHAPTER… General concept of 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 - accurate, 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 constructions , which can best fulfill the internal task of a given 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, 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.
Grammatical means are also common to all functional styles. 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.
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 in the description certain parties life.
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.
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.
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 phrases, 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.
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.
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. In it, the capabilities of the national language are presented in the most complete and pure development.
CHAPTER...TO THE QUESTION OF DISTINGUISHING AN ARTISTIC STYLE
All researchers talk about the special position of the style of fiction in the system of styles. Highlighting this style in common system perhaps, because the style of fiction arises on 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.
The concept of “language of a work of art” includes the entire set of means that the author uses to reproduce life phenomena in order to express his thoughts and views, convince the reader and evoke reciprocal feelings in him.
The addressee of fiction is the reader.
The goal setting of the style is the artist’s self-expression, artistic understanding of the world through the means of art.
Fiction uses equally all functional - semantic types of speech - description, narration, reasoning.
The form of speech is predominantly written; for texts intended to be read aloud, prior recording is required.
Fiction also uses all types of speech: monologue, dialogue, polylogue. Type of communication – public.
The genres of fiction are known - these are novels, stories, sonnets, short stories, fables, poems, comedies, tragedies, dramas, etc.
Features hood st
One of the features of the style of fiction is that all elements of the artistic system of a work are subordinated to solving aesthetic problems; the word in a literary text is a means of creating an image and conveying the artistic meaning of the work.
Literary texts use the entire variety of linguistic means that exist in the language (we have already talked about them): means of artistic expression, stylistic or rhetorical figures, and both means of the literary language and phenomena outside the literary language can be used -
dialects, definition
jargon, definition
swear words,
means of other styles, etc.
At the same time, the selection of linguistic units 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. To create an image, the author can, within the same text, use the possibilities of polysemy of the word, homonym definition
Definition of synonyms and other linguistic phenomena.
The repetition of a word, which in scientific and official business styles emphasizes the accuracy of the text, in journalism serves as a means of enhancing impact, in artistic speech it can form the basis of the composition of the text and create the artistic world of the author.
The artistic means of literature are characterized by the ability to “increase meaning,” which makes it possible different interpretations artistic texts, its various assessments. For example, critics and readers assessed many works of art differently:
Drama A.N. N. Dobrolyubov called Ostrovsky’s “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 D. Pisarev saw in “The Thunderstorm” only a drama in a family chicken coop; modern researchers A. Genis and P. Vail, 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 Bazarov, Dostoevsky’s heroes. An example of the same from Shakespeare is required
A literary text has its own originality - the author's style. The author's style is the characteristic features of the language of the works of one author, consisting in the choice of heroes, compositional features of the text, the language of the heroes, and the speech features of the author's text itself. So, for example, 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, 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 rows homogeneous members offers. 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 the image of a storyteller or the image of a hero or narrator.
The image of the author is a conventional image. The author ascribes to him, so to speak, “transfers” the authorship of his work, which may contain information about the author’s personality, facts of his life that do not correspond to the actual facts of the writer’s biography. By this, the writer emphasizes the non-identity of the author of the work and his image in the work. The image of the author actively participates in the life of the characters, enters into the plot of the work, expresses his attitude to what is happening, the characters, comments on the action, and enters into dialogue with the reader. An author's or lyrical digression is a reflection of the author (lyrical hero, narrator), not related to the main narrative. You are well familiar with the novel by M.Yu. Lermontov “Hero of Our Time”, a novel in verse by A.S. Pushkin’s “Eugene Onegin”, where the image of the author is a striking example of the expression of a conventional image in the creation of a literary text.
The perception of a literary text is a complex process.
First stage This process is the naive realism of the reader (the reader believes that the author directly depicts life as it really is), the final stage is the dialogue between the reader and the writer (in this case, “the reader is congenial to the author,” as the wonderful 20th century philologist Yu. M, Lotman).
The concept of “language of a work of art” includes the entire set of artistic means that the author uses: polysemy of the word, homonyms, synonyms, antonyms, archaisms, historicisms, neologisms, foreign vocabulary, idioms, catch words.
CONCLUSION
As we noted above, the question of the language of fiction and its place in the system of functional styles is resolved ambiguously: some researchers (V.V. Vinogradov, R.A. Budagov, A.I. Efimov, M.N. Kozhina, A. N. Vasilyeva, B.N. Golovin) include a special artistic style in the system of functional styles, others (L.Yu. Maksimov, K.A. Panfilov, M.M. Shansky, D.N. Shmelev, V.D. Bondaletov) believe that there is no reason for this. The following are given as arguments against distinguishing the style of fiction:
1) the language of fiction is not included in the concept of literary language;
2) it is multi-styled, open-ended, and does not have specific features that would be inherent in the language of fiction as a whole;
3) the language of fiction has a special, aesthetic function, which is expressed in a very specific use of linguistic means.
It seems to us that the opinion of M.N. is very legitimate. Kozhina that “extending artistic speech beyond functional styles impoverishes our understanding of the functions of language. If we remove artistic speech from the list of functional styles, but assume that literary language exists in many functions, and this cannot be denied, then it turns out that the aesthetic function is not one of the functions of language. The use of language in the aesthetic sphere is one of the highest achievements of the literary language, and because of this, neither the literary language ceases to be such when it enters a work of art, nor the language of fiction ceases to be a manifestation of the literary language.” 1
The main goal of the literary and artistic style is to master the world according to the laws of beauty, satisfy the aesthetic needs of both the author of a work of art and the reader, and have an aesthetic impact on the reader with the help of artistic images.
Used in literary works different kinds and genres: stories, novels, poems, poems, tragedies, comedies, etc.
The language of fiction, despite its stylistic heterogeneity, despite the fact that the author’s individuality is clearly manifested in it, still differs in a number of ways specific features, allowing one to distinguish artistic speech from any other style.
The features of the language of fiction as a whole are determined by several factors. It is characterized by broad metaphoricality, imagery of linguistic units of almost all levels, the use of synonyms of all types, polysemy, and different stylistic layers of vocabulary is observed. The artistic style (compared to other functional styles) has its own laws of word perception. The meaning of a word is largely determined by the author’s goal setting, genre and compositional features of the work of art of which this word is an element: firstly, in the context of a given literary work it can acquire artistic ambiguity not recorded in dictionaries; secondly, it retains its connection with the ideological and aesthetic system of this work and is assessed by us as beautiful or ugly, sublime or base, tragic or comic.
The use of linguistic means in fiction is ultimately subordinated to the author's intention, the content of the work, the creation of an image and the impact through it on the addressee. Writers in their works proceed, first of all, from accurately conveying thoughts and feelings, truthfully revealing the spiritual world of the hero, and realistically recreating language and image. Not only the normative facts of language, but also deviations from general literary norms are subject to the author’s intention and the desire for artistic truth.
The breadth of literary speech covering the means of the national language is so great that it allows us to affirm the idea of the fundamental potential possibility of including all existing linguistic means (though connected in a certain way) into the style of fiction.
The listed facts indicate that the style of fiction has a number of features that allow it to take its own special place in the system of functional styles of the Russian language.
1 Kozhina M.N. Stylistics of the Russian language. M., 1983. P.49.
Fiction style
Art style- functional style of speech, which is used in fiction. In this style, it influences the imagination and feelings of the reader, conveys the thoughts and feelings of the author, uses all the wealth of vocabulary, the possibilities of different styles, and is characterized by imagery and emotionality of speech.
In a work of art, a word not only carries certain information, but also serves to have an aesthetic impact on the reader with the help of artistic images. The brighter and more truthful the image, the stronger its impact on the reader.
In their works, writers use, when necessary, not only words and forms of the literary language, but also outdated dialect and colloquial words.
The means of artistic expression are varied and numerous. These are tropes: comparisons, personification, allegory, metaphor, metonymy, synecdoche, etc. And stylistic figures: epithet, hyperbole, litotes, anaphora, epiphora, gradation, parallelism, rhetorical question, silence, etc.
Fiction is characterized by a concrete, figurative representation of life, in contrast to the abstract, objective, logical-conceptual reflection of reality in scientific speech. A work of art is characterized by perception through the senses and re-creation of reality; the author strives, first of all, to convey his personal experience, his understanding 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 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 primarily includes figurative means of the Russian literary language, as well as words that realize their meaning in the context. These are words with a wide range of usage. Highly specialized words are used to a small extent, only to create artistic authenticity when describing certain aspects of life.
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. The author uses not only the vocabulary of the codified literary language, but also a variety of figurative means from colloquial speech and vernacular.
The emotionality and expressiveness of the image comes to the fore in a literary text. Many words, which in scientific speech act as clearly defined abstract concepts, in newspaper and journalistic speech - as socially generalized concepts, in artistic speech carry concrete sensory ideas. Thus, the styles functionally complement each other. For example, the adjective lead in scientific speech realizes its direct meaning (lead ore, lead bullet), and in artistic speech it forms an expressive metaphor (lead clouds, lead night, lead waves). Therefore, in artistic speech an important role is played by phrases that create a kind of figurative representation.
Artistic speech, especially poetic speech, is characterized by inversion, i.e. changing the usual order of words in a sentence in order to enhance the semantic significance of a word, or to give the entire phrase a special stylistic coloring. An example of inversion is the famous line from A. Akhmatova’s poem “I still see Pavlovsk as hilly...” The author’s word order options are varied and subordinated to the general concept. But all these deviations in the text serve the law of artistic necessity.
6. Aristotle on the six qualities of “good speech”
The term “rhetoric” (Greek Retorike), “oratory” (Latin orator, orare – to speak), “oratory” (obsolete, Old Slavonic), “eloquence” (Russian) are synonymous.
Rhetoric - a special science about the laws of “invention, arrangement and expression of thoughts in speech.” Its modern interpretation is the theory of persuasive communication.”
Aristotle defined rhetoric as the ability to find possible beliefs regarding any given subject, as the art of persuasion that uses the possible and probable in cases where real certainty is insufficient. The point of rhetoric is not to convince, but in every in this case find ways to persuade.
Oratory is understood as a high degree of skill public speaking, qualitative characteristics of oratory, skillful use of words.
Eloquence in V. Dahl’s dictionary of the living Great Russian language is defined as eloquence, science and the ability to speak and write eloquently, convincingly and captivatingly.
Corax, who in the fifth century B.C. opened a school of eloquence in Syrocusa and wrote the first textbook on rhetoric, defining eloquence as follows: eloquence is the handmaiden of persuasion. Comparing the above-mentioned concepts of “rhetoric,” “oratory,” “eloquence,” we find that they are united by the idea of persuasion.
The aesthetics and self-expression of the speaker in oratory, the ability and ability to speak captivatingly inherent in eloquence, as well as the scientific laws of rhetoric, they all serve one goal - to convince. And these three concepts “rhetoric”, “oratory” and “eloquence” are distinguished by different accents that emphasize their content.
In oratory, aesthetics and self-expression of the author are emphasized, in eloquence - the ability and ability to speak captivatingly, and in rhetoric - the scientific nature of principles and laws.
Rhetoric as a science and academic discipline has existed for thousands of years. IN different time different contents were put into it. It was considered both as a special genre of literature, and as the mastery of any type of speech (oral and written), and as the science and art of oral speech.
Rhetoric, as the art of speaking well, needed an aesthetic understanding of the world, an idea of the graceful and the clumsy, the beautiful and the ugly, the beautiful and the ugly. At the origins of rhetoric stood the actor, dancer, singer, delighting and convincing people with their art.
At the same time, rhetoric was based on rational knowledge, on the difference between the real and the unreal, the real and the imaginary, the true and the false. A logician, a philosopher, and a scientist participated in the creation of rhetoric. In the very formation of rhetoric there was a third principle, it united both types of knowledge: aesthetic and scientific. This was the beginning of ethics.
So, the rhetoric was triune. It was the art of persuasion through words, the science of the art of persuasion through words, and the process of persuasion based on moral principles.
Even in antiquity, two main directions emerged in rhetoric. The first, coming from Aristotle, connected rhetoric with logic and proposed that convincing, effective speech be considered good speech. At the same time, effectiveness also came down to persuasiveness, to the ability of speech to win recognition (consent, sympathy, sympathy) of listeners, to force them to act in a certain way. Aristotle defined rhetoric as "the ability to find possible ways beliefs about any given subject."
The second direction also arose in Ancient Greece. Its founders include Socrates and other rhetoricians. Its representatives tended to consider richly decorated, magnificent speech, built according to aesthetic canons, to be good. Persuasiveness continued to matter, but was not the only or main criterion for assessing speech. Therefore, the direction in rhetoric, originating from Aristotle, can be called “logical”, and from Socrates - literary.
The doctrine of speech culture originated in Ancient Greece within the framework of rhetoric as the doctrine of the advantages and disadvantages of speech. Rhetorical treatises gave instructions on what speech should be and what should be avoided in it. These works contained recommendations for compliance correctness, purity, clarity, accuracy, logic and expressiveness of speech, as well as advice on how to achieve this. In addition, Aristotle also called not to forget about the addressee of speech: “Speech consists of three elements: the speaker himself, the object he is talking about, and the person to whom he is addressing and who is, in fact, the final goal of everything.” Thus, Aristotle and other rhetoricians drew the attention of readers to the fact that rhetorical heights and the art of speech can be achieved only on the basis of mastery of the basics of speech skills.
IN general outline, to the main linguistic features artistic style of speech includes 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. 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 were 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 rose hips, probably, have 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 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 the colloquial style of 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 in figurative meaning in order to achieve greater artistic expression. 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: “youth is faster than a bird.” 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 phrases. 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) is the replacement of one’s own name with 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...”
The expressive means of language also include stylistic figures of speech or simply figures of speech: anaphora, antithesis, non-union, gradation, inversion, polyunion, parallelism, rhetorical question, rhetorical appeal, silence, ellipsis, epiphora. The means of artistic expression also include rhythm (poetry and prose), rhyme, and intonation.