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, make up two levels of the national language. The basis of the artistic style of speech is the literary Russian language. The word in this functional style performs a nominative-figurative function. Here is the beginning of V. Larin's novel "Neuron Shock":

“Marat's father, Stepan Porfirievich Fateev, an orphan from infancy, was from the Astrakhan bandit family. The revolutionary whirlwind blew him out of the locomotive vestibule, dragged him through the Michelson plant in Moscow, machine-gun courses in Petrograd and threw him into Novgorod-Seversky, a town of deceptive silence and goodness.(Star. 1998. No. 1).

In these two sentences, the author showed not only a segment of an individual human life, but also the atmosphere of an era of great 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 father of the hero of the novel and his own roots. Simple, rude people surrounding the boy (binduzhnik– colloquial name for a port loader), the hard work that he saw from childhood, the restlessness of orphanhood - that's 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 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”. Such figurativeness, such a layer of in-depth information is impossible in a scientific or official business text.

The lexical composition and functioning of words in the artistic style of speech have their own characteristics. Among the words that form the basis and create the imagery of this style, first of all, are the 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 uses. Highly specialized words are used to a small extent, only to create artistic authenticity in 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 lexicon in I. S. Turgenev’s “Notes of a Hunter”, in the stories of M. M. Prishvin, V. A. Astafiev, and in A. S. Pushkin’s “Queen of Spades” there are many words from the vocabulary of a card game etc.

In the artistic style of speech, the speech polysemy of the word is very widely used, which opens up additional meanings and semantic shades in it, as well as synonymy at all language levels, which makes it possible to emphasize the subtlest shades of meanings. This is explained by the fact that the author strives to use all the richness of the language, to create his own unique language and style, to a bright, expressive, figurative text. The author uses not only the vocabulary of the codified literary language, but also a variety of figurative means from colloquial speech and vernacular. Let's take a small example:

"In Evdokimov's tavern alreadygathered was put out the lamps when the scandal began. The scandal started like this.First everything looked fine in the hall, and even Potap, the tavern clerk, told the owner that,they say, now God has mercy - not a single broken bottle, when suddenly in the depths, in the semi-darkness, in the very core, there was a buzzing like a swarm of bees.

- Fathers of light, - the owner lazily amazed, - here,Potapka, your evil eye, damn it! Well, you should have croaked, damn it! (Okudzhava B. Shilov's adventures).

The emotionality and expressiveness of the image come to the fore in the artistic text. Many words that in scientific speech act as clearly defined abstract concepts, in newspaper and journalistic speech as socially generalized concepts, in artistic speech carry specific sensory representations. Thus, the styles functionally complement each other. For example, the adjective lead in scientific speech realizes its direct meaning (lead ore, lead bullet), and artistic forms an expressive metaphor (lead clouds, lead night, lead waves). Therefore, in artistic speech, phrases play an important role, which create a certain figurative representation.

Artistic speech, especially poetic speech, is characterized by inversion, that is, a change in the usual word order in a sentence in order to enhance the semantic significance of a word or give the whole phrase a special stylistic coloring. An example of inversion is the well-known line from A. Akhmatova's poem “Everything I see is hilly Pavlovsk ...” Variants of the author's word order are diverse, subject to a common plan.

The syntactic structure of artistic speech reflects the flow of figurative-emotional impressions of the author, so here you can find the whole variety of syntactic structures. Each author subordinates linguistic means to the fulfillment of his ideological and aesthetic tasks. So, L. Petrushevskaya, in order to show the disorder, "troubles" of the family life of the heroine of the story "Poetry in Life", includes several simple and complex sentences in one sentence:

“In Mila’s story, everything went on increasing, Mila’s husband in a new two-room apartment no longer protected Mila from her mother, her mother lived separately, and there was no telephone either there or here - Mila's husband became himself and Iago and Othello and with mockery from around the corner watched how men of his type pester Mila on the street, builders, prospectors, poets, who do not know how heavy this burden is, how unbearable life is, if you fight alone , since beauty is not a helper in life, one could roughly translate those obscene, desperate monologues that the former agronomist, and now a researcher, Mila's husband, shouted both on the night streets, and in his apartment, and after getting drunk, so Mila hid somewhere with her young daughter, found shelter, and the unfortunate husband beat the furniture and threw iron pans.

This proposal is perceived as an endless complaint of an uncountable number of unfortunate women, as a continuation of the theme of the sad female lot.

In artistic speech, deviations from structural norms are also possible, due to artistic actualization, i.e., the allocation by the author of 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. Especially often this technique is used to create a comic effect or a bright, expressive artistic image:

"Ay, cute, - Shipov shook his head, - why is that so? No need. I can see right through you, mon cher… Hey, Potapka, why did you forget the man on the street? Bring him here, wake up. And what, mister student, how does this tavern seem to you? Dirty, do you think I like him?... I've been to real restaurants, sir, I know ... Pure Empire, sir... But you can’t talk to people there, but here I can learn something” (Okudzhava B. Shilov's adventures).

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

Bibliography:

1. Azarova, E.V. Russian language: Proc. allowance / E.V. Azarova, M.N. Nikonov. - Omsk: Publishing house of OmGTU, 2005. - 80 p.

2. Golub, I.B. Russian language and culture of speech: Proc. allowance / I.B. Golub. - M. : Logos, 2002. - 432 p.

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

4. Nikonova, M.N. Russian language and culture of speech: Textbook for non-philologist students / M.N. Nikonov. - Omsk: Publishing House of OmGTU, 2003. - 80 p.

5. Russian language and culture of speech: Proc. / edited by prof. IN AND. Maksimov. - M. : Gardariki, 2008. - 408s.

6. Russian language and culture of speech: Textbook for technical universities / ed. IN AND. Maksimova, A.V. Golubev. - M. : Higher education, 2008. - 356 p.

Art style serves a special sphere of human activity - the sphere of verbal and artistic creativity. Like other styles, the artistic one performs all the most important social functions of the language:

1) informative (reading works of art, we get information about the world, about human society);

2) communicative (the writer communicates with the reader, conveying to him his idea of ​​the phenomena of reality and counting on a response, and unlike a publicist who addresses the masses, the writer addresses the addressee who is able to understand him);

3) affecting (the writer seeks to evoke an emotional response in the reader to his work).

But all these functions in the artistic style are subordinate to its main function -aesthetic , which consists in the fact that reality is recreated in a literary and artistic work through a system of images (characters, natural phenomena, environment, etc.). Each significant writer, poet, playwright has his own, original vision of the world, and to recreate the same phenomenon, different authors use different language means, specially selected, rethought.V. V. Vinogradov noted: “... The concept of “style” as applied to the language of fiction is filled with a different content than, for example, in relation to business or clerical styles, and even journalistic and scientific styles ... The language of fiction is not quite correlative with other styles, he uses them, includes them, but in peculiar combinations and in a transformed form ... "

Fiction, like other types of art, is characterized by a concrete-figurative representation of life, in contrast, for example, to an 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 seeks to convey, first of all, his personal experience, his understanding and understanding of this or that phenomenon. For the artistic style of speech, attention to the particular and the accidental is typical, followed by the typical and the general.The world of fiction is a "recreated" world, the depicted reality is, to a certain extent, the author's fiction, which means that the subjective moment plays the main role in the artistic style of speech. The whole surrounding reality is presented through the vision of the author. 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, etc. This is connected with emotionality, expressiveness, metaphor, and the richness of the artistic style. 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, make up two levels of the national language. The basis of the artistic style of speech is the literary Russian language. The word in this functional style performs a nominative-figurative function.

The lexical composition and functioning of words in the artistic style of speech have their own characteristics. The words that form the basis and create the imagery of this style, first of all, include the figurative means of the literary language, as well as words that realize their meaning in the context. These are words with a wide range of uses. Highly specialized words are used to a small extent, only to create artistic authenticity in describing certain aspects of life. For example, L. N. Tolstoy in the novel "War and Peace" used special military vocabulary when describing battle scenes. We will find a significant number of words from the hunting lexicon in the “Notes of a Hunter” by I. S. Turgenev, in the stories of M. M. Prishvin, V. A. Astafiev. In the "Queen of Spades" by A. S. Pushkin there are many words related to the card game, etc.

In the artistic style, the polysemy of the word is very widely used, which opens up additional meanings and semantic shades in it, as well as synonymy at all language levels, which makes it possible to emphasize the subtlest shades of meanings. This is explained by the fact that the author strives to use all the richness of the language, to create his own unique language and style, to a bright, expressive, figurative text. The emotionality and expressiveness of the image come to the fore in the artistic text. Many words that in scientific speech act as clearly defined abstract concepts, in newspaper and journalistic speech as socially generalized concepts, in artistic speech act as concrete sensory representations. Thus, the styles functionally complement each other. For example, the adjective "lead" in scientific speech it 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, phrases play an important role, which create a certain figurative representation.

The syntactic structure of artistic speech reflects the flow of figurative-emotional impressions of the author, so here you can find the whole variety of syntactic structures. Each author subordinates linguistic means to the fulfillment of his ideological and aesthetic tasks. In artistic speech, deviations from structural norms are also possible, due to artistic actualization, that is, the author's allocation of 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. Especially often this technique is used to create a comic effect or a bright, expressive artistic image.

In terms of diversity, richness and expressive possibilities of language means, the artistic style stands above other styles, is the most complete expression of the literary language. A feature of the artistic style, its most important feature is imagery, metaphor, which is achieved by using a large number of stylistic figures and tropes.

trails - these are words and expressions used in a figurative sense in order to enhance the figurativeness of the language, the artistic expressiveness of speech. The main types of trails are as follows

Metaphor - trope, a word or expression used in a figurative sense, which is based on an unnamed comparison of an object with some other on the basis of their common feature: And my tired soul is embraced by darkness and cold. (M. Yu. Lermontov)

Metonymy - a type of trail, a phrase in which one word is replaced by another, denoting an object (phenomenon) that is in one or another (spatial, temporal, etc.) connection with the object, which is indicated by the replaced word: The hiss of frothy goblets and punch blue flames. (A. S. Pushkin). The replacement word is used in a figurative sense. Metonymy should be distinguished from metaphor, with which it is often confused, while metonymy is based on the replacement of the word “by contiguity” (part instead of the whole or vice versa, representative instead of class, etc.), while metaphor is based on the replacement “by similarity ".

Synecdoche – one of the types of metonymy, which is the transfer of the meaning of one object to another on the basis of the quantitative relationship between them: And it was heard until dawn how the Frenchman rejoiced. (M. Yu. Lermontov).

Epithet - a word or a whole expression, which, due to its structure and special function in the text, acquires some new meaning or semantic connotation, helps the word (expression) to acquire color, richness. The epithet is expressed mainly by the adjective, but also by the adverb (hotly love), noun (fun noise), numeral (second Life).

Hyperbola - a trope based on explicit and deliberate exaggeration, in order to enhance expressiveness and emphasize the thought said: Ivan Nikiforovich, on the contrary, has trousers in such wide folds that if they were inflated, the whole yard with barns and buildings could be placed in them (N.V. Gogol).

Litotes - a figurative expression that downplays the size, strength, meaning of the described: Your Pomeranian, lovely Pomeranian, is no more than a thimble ... (A. S. Griboyedov). A litote is also called an inverse hyperbola.

Comparison - a trope in which there is an assimilation of one object or phenomenon to another according to some common feature for them. The purpose of the comparison is to reveal in the object of comparison new properties that are important for the subject of the statement: Anchar, like a formidable sentry, stands alone in the whole universe (A. S. Pushkin).

personification – trope, which is based on the transfer of the properties of animate objects to inanimate ones:Silent sadness will be consoled, and joy will reflect friskyly (A. S. Pushkin).

paraphrase – trope, in which the direct name of an object, person, phenomenon is replaced by a descriptive turnover, which indicates the signs of an object, person, phenomenon that is not directly named: the king of beasts (lion), people in white coats (doctors), etc.

Allegory (allegory) - conditional representation of abstract ideas (concepts) through a specific artistic image or dialogue.

Irony - a trope in which the true meaning is hidden or contradicts (opposed) to the explicit meaning: Where can we, fools, drink tea. Irony creates the feeling that the subject matter is not what it seems.

Sarcasm - one of the types of satirical exposure, the highest degree of irony, based not only on the increased contrast of the implied and expressed, but also on the deliberate exposure of the implied: Only the Universe and human stupidity are infinite. Although I have doubts about the first one (A. Einstein). If the patient really wants to live, the doctors are powerless (F. G. Ranevskaya).

Stylistic figures – these are special stylistic turns that go beyond the necessary norms for creating artistic expression. It should be emphasized that stylistic figures make speech information redundant, but this redundancy is necessary for the expressiveness of speech, and therefore for a stronger impact on the addressee.Stylistic figures include:

Rhetorical address – giving the author's intonation solemnity, irony, etc..: And you, arrogant descendants ... (M. Yu. Lermontov)

Rhetorical question - it's special construction of speech, in which the statement is expressed in the form of a question. The rhetorical question does not require an answer, but only enhances the emotionality of the statement:And over the fatherland of enlightened freedom will the longed-for dawn finally rise? (A. S. Pushkin).

Anaphora - a stylistic figure consisting in the repetition of related sounds, words or groups of words at the beginning of each parallel row, that is, in the repetition of the initial parts of two or more relatively independent segments of speech (half-lines, verses, stanzas or prose passages):

The winds did not blow in vain,
Not in vain was a thunderstorm (S. A. Yesenin).

Epiphora - a stylistic figure consisting in the repetition of the same words at the end of adjacent segments of speech. Often the epiphora is used in poetic speech in the form of the same or similar endings of stanzas:

Dear friend, and in this quiet house
The fever hits me
Can't find me a place in a quiet house
Near a peaceful fire (A. A. Blok).

Antithesis - rhetorical opposition, a stylistic figure of contrast in artistic or oratory speech, which consists in a sharp opposition of concepts, positions, images, states, interconnected by a common structure or internal meaning: Who was nobody, he will become everything!

Oxymoron - a stylistic figure or a stylistic error, which is a combination of words with the opposite meaning (that is, a combination of incongruous). An oxymoron is characterized by the intentional use of contradiction to create a stylistic effect:

gradation – grouping homogeneous members of a sentence in a certain order: according to the principle of increasing or weakening emotional and semantic significance: I don’t regret, I don’t call, I don’t cry ... (S. A. Yesenin)

Default – deliberate interruption of speech, based on the guess of the reader, who must mentally complete the phrase:But listen: if I owe you ... I own a dagger, I was born near the Caucasus ... (A. S. Pushkin).

Polyunion (polysyndeton) - a stylistic figure consisting in a deliberate increase in the number of unions in a sentence, usually to connect homogeneous members. Slowing down speech with pauses, polyunion emphasizes the role of each of the words, creating a unity of enumeration and enhancing the expressiveness of speech: And for him they resurrected again: both the deity, and inspiration, and life, and tears, and love (A. S. Pushkin).

Asyndeton (asyndeton)- stylistic figure: construction of speech, in which conjunctions connecting words are omitted. Asyndeton gives the statement swiftness, dynamism, helps to convey a quick change of pictures, impressions, actions: Swede, Russian, cuts, stabs, cuts, drumming, clicks, rattle ... (A. S. Pushkin).

Parallelism - a stylistic figure, which is an arrangement of speech elements that are identical or similar in grammatical and semantic structure in adjacent parts of the text. Parallel elements can be sentences, their parts, phrases, words:

The stars are shining in the blue sky
In the blue sea the waves are whipping;
A cloud is moving across the sky
A barrel floats on the sea (A. S. Pushkin).

Chiasmus - a stylistic figure, consisting in a cruciform change in the sequence of elements in two parallel rows of words: Know how to love art in yourself, and not yourself in art (K. S. Stanislavsky).

Inversion - a stylistic figure, consisting in violation of the usual (direct) word order: Yes, we were very friendly (L. N. Tolstoy).

In the creation of artistic images in a literary work, not only figurative and expressive means are involved, but also any units of the language, selected and organized in such a way that they acquire the ability to activate the reader's imagination, evoke certain associations. Due to the special use of linguistic means, the described, denoted phenomenon loses the features of the general, is concretized, turns into a single, particular - the only idea of ​​which is imprinted in the mind of the writer and recreated by him in a literary text.Let's compare two texts:

Oak, a genus of trees in the beech family. About 450 species. It grows in the temperate and tropical zones of the Northern Hemisphere and South America. The wood is strong and durable, with a beautiful pattern on the cut. Forest breed. Pedunculate oak (height up to 50 meters, lives from 500 to 1000 years) forms forests in Europe; rock oak - in the foothills of the Caucasus and Crimea; Mongolian oak grows in the Far East. Cork oak is cultivated in the subtropics. The bark of the English oak is used for medicinal purposes (contains astringents). Many species are decorative (Encyclopedic Dictionary).

There was an oak at the edge of the road. Probably ten times older than the birches that make up the forest, it was ten times thicker and twice as tall as each birch. It was a huge, double-girth oak, with boughs broken off long ago, apparently, and with broken bark, overgrown with old sores. With his huge clumsy, asymmetrically spread arms and fingers, he stood between the smiling birches like an old, angry and suspicious freak. Only he alone did not want to submit to the charm of spring and did not want to see either spring or the sun (L. N. Tolstoy "War and Peace").

Both texts describe oak, but if the first one deals with a whole class of homogeneous objects (trees, the general, essential features of which are presented in a scientific description), then the second one speaks of one, specific tree. When reading the text, an idea arises of an oak, personifying old age immersed in itself, opposed to birch trees “smiling” in spring and the sun. Concretizing the phenomena, the writer resorts to the method of personification: at the oak huge hands and fingers, he looks old, angry, contemptuous freak. In the first text, as is typical of the scientific style, the word oak expresses a general concept, in the second it conveys the idea of ​​a particular person (author) about a particular tree (the word becomes an image).

From the point of view of the speech organization of texts, the artistic style turns out to be opposed to all other functional styles, since the fulfillment of the aesthetic function, the tasks of creating an artistic image allow the writer to use the means of not only the literary language, but also the common language (dialectisms, jargon, vernacular). It should be emphasized that the use of non-literary elements of the language in works of art must meet the requirements of expediency, moderation, and aesthetic value.The writers' free recourse to linguistic means of various stylistic coloring and various functional and stylistic correlations can create the impression of "variation in style" of artistic speech. However, this impression is superficial, since the attraction of stylistically colored means, as well as elements of other styles, is subordinated in artistic speech to the performance of an aesthetic function : they are used to create artistic images, to realize the ideological and artistic intention of the writer.Thus, the artistic style, like all others, is formed on the basis of the interaction of extralinguistic and linguistic factors. Extralinguistic factors include: the sphere of verbal creativity itself, the peculiarities of the writer's worldview, his communicative attitude; to linguistic ones: the possibility of using various units of the language, which undergo various transformations in artistic speech and become a means of creating an artistic image, embodying the author's intention.

artistic speech stylistics Russian

The specificity of the artistic style of speech, as a functional one, lies in the fact that it finds application in fiction, which performs a figurative-cognitive and ideological-aesthetic function. In contrast, for example, to 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 feelings and the re-creation of reality, the author seeks, first of all, to convey his personal experience, his understanding or understanding 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. This is associated with emotionality and expressiveness, metaphorical, meaningful diversity of the artistic style of speech.

The main goal of the artistic style is the development of the world according to the laws of beauty, the satisfaction of the aesthetic needs of both the author of the work of art and the reader, the 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 words that form the basis of this style, first of all, include 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 uses. Highly specialized words are used to a small extent, only to create artistic authenticity in describing certain aspects of life.

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

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

This is how the transformation of ordinary language into artistic language takes place, such, 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, diverse 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. Here, the means of all other styles can be used - both terms, and official expressions, and colloquial words and turns, and journalism. Of course, all these various means undergo aesthetic transformation, perform certain artistic tasks, and are used in unique combinations. However, there are no fundamental prohibitions or restrictions regarding vocabulary. Any word can be used, as long as it is aesthetically motivated, justified.

It can be said that in the 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 isolation, it is open to any styles, any lexical layers, any linguistic means. Such openness determines the diversity of the language of fiction.

In general, the artistic style is usually characterized by figurativeness, expressiveness, emotionality, the author's individuality, the specificity of the presentation, the specificity of the use of all linguistic means.

It affects the imagination and feelings of the reader, conveys the thoughts and feelings of the author, uses all the richness of vocabulary, the possibilities of different styles, is characterized by figurativeness, emotionality, and concreteness of speech. The emotionality of the artistic style differs significantly from the emotionality of the colloquial everyday 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, and other styles, such as colloquial, may be present in the speech of the characters.

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

Artistic style - concept, types of speech, genres

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

The scope of the style of fiction is art.

The “material” of fiction is the national language.

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

The form of speech is predominantly written, for texts intended to be read aloud, prior recording is required.

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

Type of communication - public.

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

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

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

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

(The one that, having sipped passion, only swallowed silt - M. Tsvetaeva).

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 the impact, in artistic speech it can underlie the text, create the artistic world of the author

(cf .: S. Yesenin's poem “Shagane you are mine, Shagane”).

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

So, for example, many works of art were evaluated differently by critics and readers:

• drama by A.N. Ostrovsky called "Thunderstorm" "a ray of light in the dark kingdom", seeing in her main character - a symbol of the revival of Russian life;
• his contemporary saw in The Thunderstorm only "a drama in the family chicken coop",
• modern researchers A. Genis and P. Weil, comparing the image of Katerina with the image of Emma Bovary Flaubert, saw a lot in common and called The Thunderstorm "a tragedy of bourgeois life."

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

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

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

Another feature of Tolstoy's style is the constant division of the depicted object into simple constituent elements, which can manifest itself in the ranks of homogeneous members of the sentence; at the same time, such dismemberment is subordinated to a single idea. Tolstoy, struggling with the romantics, develops his own style, practically refuses to use the actual figurative means of the language.

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

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

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

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

The world of fiction is a "recreated" world, the depicted reality is, to a certain extent, the author's fiction, which means that the subjective moment plays the main role in the artistic style of speech. This is connected with emotionality and expressiveness, metaphoricalness, meaningful diversity of the artistic style of speech.

The lexical composition in the artistic style of speech has its own characteristics. The words that form the basis and create the imagery of this style include 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 uses. Highly specialized words are used to a small extent, only to create artistic authenticity in describing certain aspects of life.

In the artistic style of speech, the speech polysemy of the word is very widely used, which reveals the meanings and semantic shades in it, as well as synonymy at all language levels, which makes it possible to emphasize the subtlest shades of meanings. This is explained by the fact that the author strives to use all the richness of the language, to create his own unique language and style, to a bright, expressive, figurative text. The author uses not only the vocabulary of the codified literary language, but also a variety of figurative means from colloquial speech and vernacular.

The emotionality and expressiveness of the image come to the fore in the artistic text. Many words that in scientific speech act as clearly defined abstract concepts, in newspaper and journalistic speech - as socially generalized concepts, in artistic speech carry concrete sensory representations. Thus, the styles are complementary to each other. For example, the adjective "lead" in scientific speech realizes its direct meaning - "lead ore", "lead, bullet", in artistic speech it forms an expressive metaphor - "lead clouds", "lead night". Therefore, in artistic speech an important role is played by phrases that create a kind of figurative representation.

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

Tropes are lexical-semantic phenomena, they are different cases of using a word in a figurative sense. However, as you know, not every figurative meaning is figurative for modern linguistic consciousness.

For example, a metaphor is a word or figure of speech used in a figurative sense to define an object or phenomenon on the basis of some analogy or similarity. However, they usually distinguish between metaphors of a general language character (erased or petrified), metaphors that retain "freshness", and metaphors of a proper poetic nature, which differ in their individual character.

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

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

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

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

The syntactic resources of the language are also expressive means. These are, for example, appeals, various forms of transmitting someone else's speech - direct and improperly direct speech. Introductory words, phrases and sentences also have stylistic resources. Different semantic groups of introductory words are not equally common in known functional styles. In artistic speech, introductory words are widely used, expressing the emotional assessment of the statement or its expressive nature.

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

Among the means of poetic syntax, anaphora should be mentioned - the method of monophony in a number of successive sentences; epiphora - the same ending; repetition of words and their complete parallelism, stanza ring (with the same beginning and ending); antithesis - combining words with opposite meanings for stylistic purposes; gradation associated with an increase in expressiveness; period, as a special semantic and rhythmic-melodic construction of a sentence, and some others.

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

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

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

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

In the artistic style of speech, the speech polysemy of the word is widely used, which opens up additional meanings and semantic shades in it, as well as synonymy at all language levels, which makes it possible to emphasize the subtlest shades of meanings. This is explained by the fact that the author strives to use all the richness of the language, to create his own unique language and style, to a bright, expressive, figurative text.