Book stylistic coloring. Stylistic coloring of language units

Lecture questions

The concept of style in language. Functional-stylistic coloring of words.

Emotionally expressive coloring of words.

Means of artistic representation (Trails and figures).

1. The concept of style in the language. Stylistic coloration of words.

Word style ambiguous. In the broadest sense, style is understood as a set of characteristic features, features inherent in something, distinguishing something 1 . This “something” can be both an activity (work style, leadership style, etc.), and a way of performing (swimming style, skiing style, etc.), and a manner of behaving, dressing (he entered in her style, she dresses in retro style, etc.). In a narrower sense, style means direction in art, characterized by special features, properties of artistic expression(styles in painting, architecture, music, etc.). There is also a very special meaning of the word style - a way of reckoning (old style, new style).

However, most of all and most closely the concept of style is associated with literature. The very word style(gr. stylos, lat. stylus) in ancient times meant a stick pointed at one end and rounded at the other, a rod made of wood, bone or metal. The sharp end was written on wax tablets, the rounded end was leveled to write again. “Turn your style more often!” - this advice meant: correct what was written more often, strive for correctness, clarity, brevity, expressiveness of presentation. It is quite natural that over time they began to speak of his bad style, he has a good style, he has a verbose style, he has a strict style, etc., meaning not the writing tool, but the qualities of the written, the features of verbal expression. In the future, the writing stick completely went out of use, and in a word style in literature began to mean manner of using language. This understanding of style is quite correct, but it is of the most general nature and therefore needs at least two clarifications.

First, it should be noted that style - historical category. Throughout the history of the Russian language, the conditions for the formation of styles, their number and relationships have changed. For example, high, medium and low styles in the literature of classicism were determined by the genre of the work and differed from each other mainly by the ratio of the use of "Slavonic" and "simple Russian" elements, and modern functional styles are determined by the use (functioning) in various spheres of human activity (legal relations, science, etc.) and differ from each other by specific sets of correlative means and ways of linguistic expression. Secondly, it should be borne in mind that the concept of style applies to very different uses of language. In addition to those named by G.O. Vinokur, we can talk, for example, about the styles of a particular literary movement, about the style of an individual work, about the individual style of a writer, etc.

An extensive literature is devoted to styles, many definitions of style as a phenomenon of literature have been proposed. In view of the foregoing, we can accept the following: style is a historically developed type of language use, which differs from other similar varieties in the features of the composition and organization of language units. This and similar definitions, common in the specialized literature, allow us to apply the concept of "style" to any kind of language use. Meanwhile, in modern philology, a tradition has developed according to which the concept of style is applied mainly (and sometimes exclusively) to varieties of literary language, although this restriction is usually absent in definitions of style. Therefore, it should be borne in mind that although every style is a kind of language use, it is customary to call every kind of language use a style. The concept of "variety of language use" is applicable to more general and more specific phenomena; one variety may include other varieties of language usage.

Language units, in addition to their main lexical and grammatical meaning, may also have additional meanings that correlate language units with certain conditions or areas of communication. For example, the word businessman not only means “business person”, but also contains an emotional negative assessment, and in terms of use it belongs to the vernacular. Word overthrow does not just mean "overthrow", but contains an emotional connotation of sublimity, solemnity and is used in book vocabulary. Phrase construction When I pass my exams, I will go to my parents.- "neutral", and "I'll pass the exams - I'll go to my parents" - colloquial. These and similar characteristics of language units act as stylistic coloration. 2 Stylistically colored called those words, word forms, sentences, the ability of which to evoke a special impression out of context is due to the fact that they contain not only subject (information about the signified subject) and / or grammatical information, but also some additional information, for example, the coloring of familiarity, disapproval, approval, etc. 3

There are two types of stylistic coloring: functional-stylistic and emotional-expressive.

Functional-style fixedness of words 4

Functionally-stylistically colored words include those that are used in some area of communication. We feel the connection of words-terms with the language of science (for example: quantum theory, experiment, monoculture); highlight publicistic vocabulary (worldwide, law and order, congress, commemorate, proclaim, election campaign); we recognize by the clerical coloring the words of the official business style (injured, residence, prohibited, prescribe).

From a functional point of view, all means of the national language are divided into 3 groups: neutral (generally used), bookish, colloquial.

book words associated primarily with the sphere of intellectual communication ( dissent, nihilist), a significant part of them are borrowed words ( sarcasm, phenomenon) and words of Church Slavonic origin ( raise up, give back).book words are out of place in casual conversation: "On the green spaces the first leaves appeared"; We were walking in the forest array and sunbathing at the pond." Faced with such a mixture of styles, we hasten to replace foreign words with their commonly used synonyms (not green spaces, a trees, bushes; not Forest, a forest; not water, a lake).high vocabulary necessary when talking about something important, significant. This vocabulary finds application in speeches of speakers, in poetic speech, where a solemn, pathetic tone is justified. But if, for example, you are thirsty, it would not occur to you on such a trifling occasion to turn to a comrade with a tirade: “ O my unforgettable colleague and friend! Quench my thirst with life-giving moisture!»

colloquial, and even more so colloquial, that is, outside the literary norm, words cannot be used in a conversation with a person with whom we are connected by official relations, or in an official setting.

If words that have a particular stylistic coloring are used ineptly, they give the speech a comical sound.

Even in ancient manuals on eloquence, for example, in Aristotle's Rhetoric, much attention was paid to style. According to Aristotle, it "must fit the subject of speech"; important things should be spoken seriously, choosing expressions that will give the speech an elevated sound. Trifles are not spoken solemnly; in this case, words are used joking, contemptuous, that is, reduced vocabulary. M.V. Lomonosov also pointed out the opposition of “high” and “low” words in the theory of “three calms”. Modern explanatory dictionaries give stylistic marks to words, noting their solemn, sublime sound, as well as highlighting words that are reduced, contemptuous, derogatory, dismissive, vulgar, and abusive.

Of course, while talking, we cannot look into the explanatory dictionary each time, clarifying the stylistic mark for a particular word, but we feel which word should be used in a particular situation. The choice of stylistically colored vocabulary depends on our attitude to what we are talking about. Let's take a simple example.

The two argued:

– I can't take seriously what this blond youth says, one said.

– And in vain, - objected another, - the arguments of this blond youth are very convincing.

These contradictory remarks express a different attitude towards the young blond: one of the disputants chose insulting words for him, emphasizing his disdain; the other, on the contrary, tried to find words that expressed sympathy. The synonymic wealth of the Russian language provides ample opportunities for the stylistic choice of evaluative vocabulary. Some words are positive, others are negative.

However, the differentiating features of scientific, journalistic, official business vocabulary are not always perceived with sufficient certainty , and therefore, when stylistically characterized, a significant number of words are evaluated as bookish, in contrast to their commonly used and colloquial synonyms. Due to semantic and stylistic differences most clearly opposedbook and colloquial(colloquial) words; compare: intrude - get in, get rid of - get off, get rid of, sob - roar; face - muzzle, mug.

The functional-style stratification of vocabulary is only partially recorded in explanatory dictionaries. stylistic marks to words. Book words, special, colloquial, vernacular, rude vernacular stand out most consistently. The corresponding marks are used in the Big and Small academic dictionaries of the Russian language. In the "Dictionary of the Russian language" S.I. Ozhegov, the functional fixation of words is indicated by stylistic marks: “abusive”, “high”, “ironic”, “bookish”, “disapproving”, “official”, “colloquial”, “colloquial”, “special”, etc. But there are no marks , which would highlight publicistic vocabulary.

In the "Explanatory Dictionary of the Russian Language" edited by D.N. Ushakov, stylistic marks are more diverse, they represent the functional stratification of vocabulary in a more differentiated way. Here such marks are given: “newspaper”, “stationery”, “folk poetic”, “special”, “official”, “poetic”, “colloquial”, “journalistic”, etc. However, in some cases these marks are outdated. So, contractual, recalculation, re-register in the dictionary of D.N. Ushakov are given with the mark “official”, and in the dictionary of Ozhegov - without marks; chauvinism - respectively: "political" and - without marks. This reflects the real processes of changing the functional and stylistic affiliation of words.

Unlike functionally fixed, commonly usedvocabulary or interstitial, used in any style of speech without any restrictions. For example, the word house can be used in any context: in an official business document (House No. 7 is to be demolished); in an article by a journalist who owns a journalistic style (This house was built according to the project of a talented Russian architect and is one of the most valuable monuments of national architecture); in a comic song for kids (Tili-bom, tili-bom, the cat's house caught fire (March.). In all cases, such words will not stand out stylistically from the rest of the vocabulary.

Common vocabulary underlies the vocabulary of the Russian language. It is interstyle, neutral words that are, as a rule, the main (pivot) in the synonymic rows; they constitute the most important fund of generating bases around which various derivational connections of related words are formed.

Common vocabulary is also the most frequent: we constantly refer to it both in oral and written speech, in any style where it performs a primary function - nominative, naming vital concepts and phenomena.

The Russian language is rich in lexical synonyms, which contrast in their stylistic coloring. For example.

exist in terms of functional style

The stylistic coloring of a word is usually called a connotative meaning or connotation (s; sign).. Different types of styles. word colorings are marked in dictionaries with special markings (bookish, high, folk-poetic).

Two differ kind stylistic coloration: (1) emotionally expressive, conveys feelings through the interaction of semantics and evaluativeness:

Rational assessment (bad, uninteresting, useless)

Emotive assessment, often figurative

Expression is expressed by increased emotivity and rationality

Lexico-graphic marks in dictionaries. In the text can receive emots-express. coloring and neutral words (water at the lighthouse). Words in the title often acquire additional semantic meanings.

Figurative rethinking of a word that has passed from one style to another

(2) functional and stylistic, associated with varieties of language use in different areas of communication (opposition, reform, faction; the above and the undersigned). Stylistic coloring is most clearly and diversely manifested in vocabulary and phraseology; the ratio of high and neutral (expel-expel), in pronunciation the ratio of bookish and colloquial (bakery-buloshnaya). Functional-stylistic coloration is hardly noticeable when it performs in its own style, because it is natural. But when it is outside its sphere, it immediately becomes a noticeable means of expression.

- interstyle/neutral used in all styles

Stylistically-colored / marked (purely bookish, terminology)

journalistic style: high, solemn, civil vocabulary

official-business: stable clichés, official-business vocabulary

colloquial speech: words of informal communication, vernacular, everyday vocabulary

The aesthetic function of language and the language of fiction ("artistic style"). The question of "poetic language"

For starters, what is an artist? lit-ra, and how it differs from non-art. liters. Artistic lit-ra (literature) - actually displayed and depicted in figurative form. not artistic, describes, explains, analyzes reality in terms of concepts. Predominance in thin. texts of emotionally expressive, evaluative structures, and in non-art. - subject-logical. Some genres are by nature busy. intermediate position between art. and unartistic. genres (memoirs, diaries, letters).

Yaz. thin liters, is opposed to functional styles in at least three ways:

1) different from functional styles that perform their practical. f-tion, special aesthetic. a function inextricably linked with figurative expression and depiction of reality;

2) different from the func. styles by the specifics of the language norm;

3) excellent openness, widely used. verbal series of all functions. styles and spoken language. Therefore, we should not talk about “art. style." but about the language of the artist. lit-ry, or more precisely - about the aesthetic. functions of language in the works of art. literature.

Aesthetic language function... Manifested in perfection lang. form, in harmony of content and form, in clarity, clarity, conciseness, grace, simplicity, harmony of verbal expression, i.e. in what can be said in connection with the concept of artistry.

The main thing that distinguishes the aesthetic function of the language from its "practical" f-tions (communication, communication, impact) - this is the direction of the form of verbal expression not only to convey this or that content, but also to its own perfection, which allows you to feel the beauty in the language itself. If “the practical functions of the language require work on the word in order to express the information in the most accurate, clear and accessible way, then the aesthetic. The language function also requires work on the word in order to reveal to the reader and listener the beauty in the word itself.

The question of "poetic language". Some scientists also single out “poetic language”. But the term "poetic. language” reflects the long-standing division into poetry and prose, when poetry was understood as any artist. lit-ra, and under prose - not an artist. => There is no good reason to distinguish between the language of the artist. literature and poetic. language. It is the same essence.

Gorshkov, relying on the opinion of G. Vinokur and V. Vinogradov, says that “poetic. language" and "natural." language should not be opposed, that we are talking about varieties of the use of one language. Any linguistic phenomenon under special functional and creative conditions can become poetic.

Poetic language can use:

Period (complex syntactic and rhythmic-intonational structure, divided into 2 parts: rise, acceleration of the theme and a sharp intonational decline)

Lexical repetition: anaphora (unity of command), epiphora (the end is repeated), sound ring (the beginning and end are built in the same way), junction

Syntactic repetition: parallelism (repeats the model of the syntactic structure), antithesis, gradation, zeugma (connection of the incompatible, engineer and coward), amplification (many homogeneous members), polysyndeton (multi-union), asyndeton (lack of unions when enumerating) anadiplosis (next proposition. starts with the same words

Sound repetitions: alliteration (repetition of consonants), assonance (repetition of vowels), rhyme

stylistic characteristics of variant forms of the verb

There are many variants in the verb inflection system

Stylistic interest is, of course, the appearance of expressive coloring in the same or other variant forms and the possibility of using them with a specific stylistic task.

According to modern norm the infinitive of verbs with a stem on s, z has the ending -ti: trudge, weave, bloom (with the exception of the verbs to curse, steal, climb, fall, sit down, and some others). in the nineteenth in. truncated forms of such verbs were also widely used: I wish I could set you up with my aunt; I do not dare to pronounce my judgment (Gr.). We perceive them as obsolete, however, in poetic speech, these options are still held as convenient for versification: I know - the garden is blooming (Lighthouse.). Other verbs have received colloquial coloring and attract writers as a means of stylization.: After dinner the women started rowing. The mowed grass withered and dried up (Shol.). Finally, a number of verbs are fixed in colloquial speech in a truncated version, and in writing - with the ending -ti: to acquire - to acquire, to transfer - to transfer, to flourish - to flourish.

In verb pairs see - see, hear - hear the second, used only in the indefinite form and the past tense, have colloquial coloring: If Bela is not here tonight, then you will not see a horse (L.).

Of the two options to whistle - whistle the second can receive stylistic coloring in the context: All hands on deck! - and then used in professional speech; in other cases, the same form sounds like a colloquial one, for example, used in a figurative sense - “beat with force”: this is how blood whistles (L.T.).

Of the options to raise-raise, the second has a colloquial coloring: Gypsies ... raised their [horses] legs and tails, shouted, scolded (T.), however, personal forms formed from him are given with marks (book), (mouth): I will lift, you will lift.

Of the options to grow old - to grow old the second is given with litters (us.),(simple): What to do? the wife is getting old, and you are full of life (L.T.). Of the options to suffer - suffer (I suffer, suffer, suffer, etc.), the second is colloquial.

Variants of the indefinite form of the verb of the type achieve - reach do not differ stylistically, but the shorter form displaces the competing one, which is obviously dictated by the desire to save speech means. In colloquial speech, therefore, the predominance of the truncated version is especially noticeable.

The same tendency to oust longer forms leads to the fixation in the literary language of the past tense verbs of the soh type and the gradual archaization of their variants - sokhnul. Evidence of this is the inclusion of S.I. Ozhegov in the dictionary of only short variants of the 22 most common verbs of this group: gas, deaf, chilly, cold, groin, dry and others. Adjoining them are perfective verbs with an indivisible stem: plunged, invaded, comprehended, fell silent, verse. However, in book styles, their non-truncated versions are still used: Snow stuck to the skis, and this made it easier to get up (from the gas.). And the snow on the mountains ... taking the last reflections of the sun, turned pink and quickly faded (Ait.).

more clearly contrasted variant forms of prefixed verbs with the suffix -nu- and without it: withered - withered, disappeared - disappeared, got wet - got wet, arose - arose, subsided - verse. First out of use(in spelling dictionaries since 1957 only non-suffix forms of this group of verbs are given) and can be justified only in poetic speech as a means of versification: You stand in the terminal metro with your head open, and in the disk, as in a ring, your finger froze (Ascension).

The same the process of reduction of the suffix -nu- is also manifested in the formation of participle forms from the corresponding verbs:

Some verb forms do not stand out so clearly in their stylistic coloring, but are still used mainly in colloquial speech: measure - I measure, measure, measure, measure; climb - climb, climb, etc., and their options - in the book: measure - measure, measure, measure, measure; climb - get along, climb, etc.

A number of unproductive verbs in -et: get well, get sick, get disgusted in colloquial speech is used in a contracted form: get well, get sick, get sick, get well, etc. The survey data give grounds to assume that new variants can be fixed in the language as normative ones.

A lot of options are known in the form of the 1st person in verbs with a basis in consonants d, t, s, s, requiring alternation: climb - get along, drive - wheel, plant - plant, stop - stop. Deviations from normative forms that occur during the formation of the 1st person without alternation are sharply reduced in nature: you climb out - I climb out - (simple) climb out; ride - ride - (simple) ride, as well as (simple): kadyu, buzyu; (colloquial) vacuuming. In pairs of words, I am burdened - I am burdened, I am holy - I am holy, I am golden - I am golden, the latter have an archaic coloring, which is associated with their Old Slavonic origin.

At the beginning of the twentieth century. the composition of the old forms was wider. So, V.I. Chernyshev in his stylistic grammar gives an example: I nail him to the ground with a spear; I will enjoy at Derzhavin's, I will reward at Lomonosov's. In our time, such options seem unacceptable; in dictionaries, the only form of nails is given.

From many non-productive verbs it is impossible to form the form of the 1st person: win, convince, find yourself, freak out, wonder, blow, manage, etc. However, this phenomenon of “insufficient conjugation” is overcome in common speech, and personal forms of the verb that are unusual for hearing are sometimes used; cf. in the song of V. Vysotsky: I will win Miracle Yuda anyway. Verbal forms formed contrary to the phonetic-orthoepic norms existing in the language are sometimes given in dictionaries with a mark (jokingly): I will convince, I will win, I will convince.

In dialects, variants of personal forms of verbs that do not reflect the alternations inherent in the literary language are very widely represented: I grind, pay, ask, let go, walk, joke, but because of their reducedness they do not penetrate book styles.

Verbs with -ch in the infinitive: burn, flow, bake(a total of 16 word forms), form variant forms of the 3rd person singular: along with literary ones - burns, flows, bakes - vernacular - burns, flows, bakes. As sharply reduced, vernacular-dialect variants are used by writers when reproducing the speech of heroes: - Untie, brother, ashamed in front of people ... - You lie, you run away, I will untie it in the hut (Seraf.); You said to her, Shibalok, you have to finish her off ... but no, we’ll flog you for cabbage (Shol.).

Variants contrasting in stylistic coloring also form verbs in the imperative mood. In pairs of words, lie down - lie down (lie down), run - run (run), do not touch - do not touch, wait - wait, come out - come out, lay out - lay out and under. the first - literary, the second - vernacular. A number of options have a litter (colloquial): align, hang, push, clean, ride, beg, nurse [but (simple) nurse], spoil, clean, etc. with literary uncontracted forms: align, clean, etc. Separate options outdated: poured out, glues, showered.

Stylistically, they stand out as special truncated forms of the imperative mood of reflexive verbs in orders (among the military, tourists: Equal!; Calculate in the order of numbers!). Such options are used only in the oral form of speech.

The source of variability in verbal form formation is also aspect pairs of the type determine - determine, determine (over 20 verbs). Some of them, like those given above, are stylistically equivalent and therefore are not distinguished by notes in dictionaries that give both options. However, most of the options are contrasted as obsolete and modern: touch - touch, prepare - prepare, appease - appease, challenge - challenge; cf .: for Pushkin, the first was still ordinary: And do not argue with the fool. Others are marked with a litter (book): freeze, agree, and some - with a litter (colloquial): suspect, provoke, time, separate. Separate options are forgotten by our time: to design, familiarize, speed up.

The suffixal word formation of verbs also generates variants like crawl out - crawl out, measure out - measure out. Some of them are used in parallel, without receiving stylistic coloring: to make - to make, to adapt - to adapt; cf .: The tent is made of a fairly dense, but lightweight fabric; It seems expedient to make inflatable mattresses from elastic, for example polyethylene, cylinders (from gas). However, “for most verbs of this type in the modern language, there has been a redistribution of the stylistic functions of different suffix forms of the imperfective form: in pairs where both options are possible, the forms with the suffix -a- are more colloquial, with -yva- are more bookish.” An exception is the obsolete options to assimilate (cf. assimilate), assign (from assign).

Some verbs with suffixes -izirova-, -izova- also vary: standardize - standardize, colonize - colonize. Their ratio in Russian has historically changed, for a number of verbs the variants with the suffix -izirova- have become archaic and now only shorter variants are used: demoralize, decentralize, localize, mobilize, materialize, normalize, paralyze. For others, the variants with the suffix -izova- have fallen out of use: canonize, concretize. Intransitive verbs with the suffix -izirova- do not form variants: ironize, sympathize and individual transitive ones: hypnotize, magnetize.

In cases of using variants of this type, it can be recommended to rely on tradition, since most of these verbs have a terminological meaning and, as terms, are fixed in the corresponding styles. It is difficult to talk about differences in their stylistic coloring, since these words, formed from borrowed stems, have a pronounced bookish character, and there, as stylists point out, no less bookish character is inherent in variants with the -ir- element. Such verbs do not have stylistic marks in dictionaries.

For stylistics, those options that are a violation of the literary norm are interesting, since they have a bright expressive coloring that allows them to be used as a characterological tool, and addressing them requires stylistic justification, use - a special flair and linguistic taste.

A number of verbs that have features in word formation with the proximity of semantics form synonymous pairs that are different in stylistic terms. So, irrevocable and reflexive verbs of the type turns green-green (in the meaning of "stand out with its green color") differ in the colloquial shade of the second; cf .: And the spruce turns green through the hoarfrost, and the river shines under the ice (P.) - Under a large tent of blue skies I see - the distance of the steppes turns green (Kolts.). The same ratio of pairs turns white - turns white, turns red - turns red, turns black - turns black, of which the return ones have a colloquial connotation and a subtle semantic difference: they indicate a less clear manifestation of the attribute.

The pairs are also synonymous: call - call, knock - knock, threaten - threaten, splash - splash, spit - spit, but recurrent ones can indicate a greater intensity of action, interest in its result, in addition, they have a colloquial or colloquial connotation.

Separate verbs formed with the help of the postfix -sya are perceived in separate meanings as obsolete: The son-in-law pecked his nose every minute (G.); A spark of hope smoldered in his soul - to be resurrected and refreshed in the silence of solitude (Bel.).

The composition of a literary work and its various aspects. Composition as a "system for the deployment of verbal series" (V. Vinogradov).

Composition (from lat. - composition, compilation, connection). In a broad sense, the composition is called. construction, mutual location and ratio of parts of a smth. works (verbal, musical, pictorial, graphic, etc.). composition common to all texts.

Composition in literature. With the concept of composition in literature, the concepts of architectonics, plot and plot are correlated.

Architectonics(from Greek - building art) - the external form of the work of literature, locate it parts: prologue, epilogue, chapter, book, om; in verse production - stanza and so-called. "solid forms" of verse: sonnet, wreath of sonnets, French. ballad, rondo, etc.

Plot(from fr. - subject) a set of events, depict. s work

plot(from lat. - history, story) consistently. development of events and incidents in production. based on the plot.

"Hero of our time". Architectonics: Preface - Part One. Bela - Maxim Maksimych - Pechorin's Journal. Preface - Taman - Part Two. Princess Mary is a Fatalist. The order of events in time: Taman - Princess Mary - Bela - Fatalist (in the middle of Bela) - Maxim Maksimych.

Composition verbal production, due to its complexity and multidimensionality, is understood and defined differently. development of the plot, in which such generalizations are distinguished. parts: exposition - plot - developmental action - climax - denouement.

Another interpretation of the composition, more related to the peculiarities of verbal creativity: “a motivated arrangement of“ segments ”of the text. Each“ segment ”as part of the verbal whole is characterized or sustained throughout its entire length by one form or another of verbal expression (narration, description, reasoning, dialogue) , or the point of view of the author, narrator, character, with which the presentation is being conducted.

Vinogradov put forward an understanding of the composition of the thin. text “as a system of dynamic deployment of verbal rows in the complex unity of the whole

Zhirmundsky wrote about the significance of the material for the composition, Bakhtin considered it wrong to put the material at the forefront.

word row is a category of text. There is no next row outside the text.

2. next row used in a broad sense (in the sense of "linguistic") and presupposed. not only lexic. series, but also a series characterized by phonetic., morphological., derivational., syntactic. signs or definitions. ways of constructing text (paths, figures). => A word row is a sequence of languages. units of different tiers (and not just vocabulary tiers).

3. The terms of the next row are not necessarily located in a row, one after the other (contact). Most often, they are separated from each other by terms of other successive rows (i.e., located at a distance). A word series is not necessarily a continuous sequence of its constituent components..

4. Word rows can be distinguished according to various criteria, of which the main one is correlation with some kind of slug. sphere of linguistic use and with a definition. method of constructing a text.

A verbal series is a sequence (not necessarily continuous) of language units of different tiers presented in the text, united by a compositional role and correlation with a certain area of use or with a certain method of constructing a text.

Material from the Uncyclopedia

The content of the word, in addition to its main part - the lexical meaning - includes some more components. Compare, for example, the words titanic and huge. Both of them mean "very large", but in general they differ in their content, and it is impossible to use one instead of the other without taking into account these differences. The difference between them is that the word huge can be used in a variety of situations of communication, and the word titanic - only in situations of solemnity.

The opposition of the words huge and titanic shows that there is a difference between sublime and neutral units in the language. a weak degree of elevation (book coloring), and lifeless - a strong degree of elevation (it has the mark "high" in dictionaries).

The difference between words on the basis of neutrality - bookishness - loftiness is a difference in expressive-stylistic meaning. It generally indicates in which situations the use of the word is appropriate.

Let's continue the comparison and consider a series of bored - disgusted - fed up. The difference between them lies, as it were, on the other side of the neutral, “zero” expressive-stylistic mark: the neutral word bother is opposed by two stylistically reduced words - the colloquial to be disgusted and the vernacular to be sick of it, reflecting a weaker and stronger degree of decline.

Words that are neutral, the most necessary and frequent units of the language (to speak, know, big, time, person, etc.) are opposed, on the one hand, by words of two degrees of elevation (bookish and high), and on the other hand, words of two degrees of decline ( colloquial and colloquial): to die (high) - to rest (outdated bookish) - to die (neutral) - to hoard (colloquial); for (bookish) - because, since (neutral) - because (colloquial) - because (colloquial); steal (book) - steal (neutral) - drag (colloquial) - pull, steal (colloquial).

The place of a neutral member in the expressive-stylistic series is always filled, and the place of one or another elevated or reduced member may be empty.

In addition to differences in words in terms of expressive-stylistic coloring (elevated - neutral - reduced), there are other oppositions. A comparison of the words court and court shows that words can differ in meaning, which can be called evaluatively stylistic. The word court designates this phenomenon neutrally, without giving it any additional assessment, while the word court, naming the phenomenon, conveys a disapproving assessment of it, fixed in the language and especially expressed by the suffix (compare also: communicate - hang out, interfere - climb (into what) , agreement - collusion, etc.).

At first glance, it may seem that stylistically reduced words are words with a negative emotional assessment, while sublime words convey the approving attitude of the speakers to the phenomena they designate. But this is not so: for example, high-pitched words (guardian, soar, pearl), and bookish (tirade, synclit), and neutral (oratorical, new-born), and not only lowered colloquial and colloquial (to get better, sentimental, etc.) P.).

What is important in the poem is the style that corresponds to the theme.

(N.A. Nekrasov)

When using words, one cannot ignore their belonging to a particular style of speech. In modern Russian, book styles are distinguished (scientific, journalistic, official business) and colloquial. The stylistic coloring of words depends on how they are perceived by us: as assigned to a particular style or appropriate in any, i.e. commonly used. We feel the connection of words-terms with the language of science (for example: quantum theory, experiment, monoculture)", highlight publicistic vocabulary (aggression, commemorate, proclaim, election campaign)", we recognize by the clerical coloring the words of the official business style (forbidden, prescribe, proper, following).

Book words are out of place in a casual conversation: “On green spaces the first leaves appeared"; "We walked in woodland and sunbathed reservoir." Faced with such a mixture of styles, we hasten to replace foreign words with their commonly used synonyms (not green spaces, a trees, bushes; not a forest, alley; not water, a lake). Colloquial, and even more so, colloquial words cannot be used in a conversation with a person with whom we have official relations, or in an official setting, say, in a lesson. Wouldn’t it seem strange, for example, the use of colloquial vocabulary in the answers of students in literature: “In the image of Khlestakov, Gogol showed creepy bastard, which turns the head and daughter and mother, godlessly lying and enough bribes";“Chichikov is a swindler, he is eager to become a millionaire and dreams of cashing in on foolish landlords, buying their "dead souls"?

Appeal to stylistically colored words should be motivated. Depending on the content of the speech, its style, on the environment in which the word is born, and even on how the speakers relate to each other (with sympathy or hostility), they use different words. High vocabulary is necessary when talking about something important, significant. This vocabulary is used in the speeches of orators, in poetic speech, where a solemn, pathetic tone is justified. But if, for example, you are thirsty, it would not occur to you on such a trifling occasion to turn to a comrade with a tirade: “Oh my unforgettable companion and friend! Satisfy mine I thirst for life-giving moisture!”

If words with a particular stylistic coloring are used inappropriately, they give the speech a comical sound. Comedians deliberately violate stylistic norms. Here, for example, is an excerpt from a parody of a critical article about fairy tales in which the "image of a mouse" occurs.

Let's analyze this artistic image in the well-known work of Russian folklore - the folk tale "Turnip". An image of an advanced, progressive mouse is displayed here. This is far from the same mouse - a pest and wast that we observed in "Ryaba the Hen", and even more so not the one that we met at "Puss in Boots". In "Repka" we see a mouse of a completely new, advanced format. It is, as it were, a collective image of useful mice. I would like to involuntarily exclaim: “I wish there were more such mice in books for our kids!”

Of course, such use of book vocabulary, literary terms, which give speech a scientific character, cannot but cause a smile in the reader.

Even in ancient manuals on eloquence, for example, in Aristotle's Rhetoric, much attention was paid to style. According to Aristotle, he "should approach the subject of speech": important things should be taken seriously, choosing expressions that will give the speech an elevated sound. Trifles are not spoken solemnly; in this case, the words are used joking, contemptuous, reduced vocabulary. M.V. also pointed out the opposition of “high” and “low” words. Lomonosov in the theory of "three styles". Modern explanatory dictionaries give stylistic marks to words, noting their solemn, sublime sound, as well as highlighting words that are reduced, contemptuous, derogatory, dismissive, vulgar, and abusive.

The two argued:

- I can't take seriously what this guy says. blond youth- said one.
- And in vain, - objected another, - the arguments of this blond boy very convincing.

These contradictory remarks express a different attitude towards the young blond: one of the disputants chose insulting words for him, emphasizing his disdain; the other, on the contrary, tried to find words that would express sympathy. The synonymic wealth of the Russian language provides ample opportunities for stylistic selection of evaluative vocabulary. Some words are positive, others are negative.

As part of the evaluative vocabulary, words are emotionally and expressively colored. Words that convey the attitude of the speaker to their meaning belong to the emotional vocabulary.

Emotional means based on feeling, caused by emotions. Emotional vocabulary expresses various feelings.

There are many words in Russian that have a bright emotional coloring. This is easy to verify by comparing the synonyms: blond, blond, whitish, white, white, lilac; pretty, charming, bewitching, delightful, cute; eloquent, chatty; proclaim, blurt out, blurt out, etc.

From words that are close in meaning, we try to choose the most expressive ones that are stronger, more convincingly able to convey our thought. For example, you can say I do not like, but stronger words can be found: I hate, despise, abhor. In these cases, the lexical meaning of the word is complicated by a special expression.

Expression means expressiveness (from lat. expressio- expression). Expressive vocabulary includes words that enhance the expressiveness of speech. Often one neutral word has several expressive synonyms that differ in the degree of emotional stress: misfortune, misfortune, calamity, catastrophe; violent, unrestrained, indomitable, furious, furious. Often, synonyms with exactly the opposite coloring gravitate to the same neutral word: to ask - to beg, to beg; cry - roar, roar. Expressively colored words can acquire a variety of stylistic shades, as indicated by the marks in dictionaries: solemn ( unforgettable, accomplishments), high (forerunner), rhetorical (sacred, aspirations) poetic (azure, invisible). From all these words, the reduced ones are sharply different, which are marked with marks: playful (faithful, newly minted), ironic (deign, vaunted)", familiar (not bad, whispering) disapproving (pedant), disparaging (daub), contemptuous (sneak) derogatory (hpop) vulgar (grabber), abusive (fool).

Evaluative vocabulary requires careful attention. The inappropriate use of emotional and expressive words can give speech a comical sound. This often happens in student essays. For example: "Nozdrevbyl inveterate bully "","All Gogol's landowners fools, idlers, loafers and dystrophic "","To me crazy I like Gogol's works, I idolize and consider myself a victim his talent" (probably the word victim the author used by mistake instead of nouns admirer, admirer).

Doesn’t it happen to you that, holding a pen, you suddenly use the wrong words that should be used in a given speech situation? For example, in your writings, is it always justified to use vocabulary that has a certain stylistic coloring? Perhaps, without exaggeration, we can say that the stylistic selection of vocabulary causes the greatest difficulties for those who are learning to write essays.

What should be the style of your speech so that strict teachers do not find speech errors in it?

Undoubtedly, the style of an essay depends on its content. If you write about a historical era that left its mark on the worldview and work of the writer, characterize the literary currents, aesthetic views of the poet, talk about his philosophical searches, then, of course, your style of speech will approach the scientific, journalistic. If you draw your favorite hero, recalling the most interesting pages of his biography, emphasizing the most striking features of his character and recreating the cute features of his imaginary appearance, your speech will become like an artistic one, it will be especially emotional, figurative. When you critique a work of fiction, you draw on the arsenal of language commonly used by critics, and your style will absorb the features of critical writing. Finally, if you want to talk about yourself, take a trip back to your childhood, or imagine the first steps in your chosen profession (which is possible in essays on a free topic), you will involuntarily turn to the means of conversational style: use expressive vocabulary that sounds casual and simple. In each case, the choice of linguistic means must be stylistically justified: lofty thoughts, lofty matters turn us to a solemn style and, on the contrary, everyday phenomena reduce the style of speech.

Does the style of essays always correspond to their content, feelings, mood of their authors? Alas, not always. For example, a student writes about her love for Pushkin's poetry as follows:

My acquaintance with Pushkin took place from The Tale of the Fisherman and the Fish, when a little snub-nosed girl climbed onto the sofa and, huddled in a ball, began to read the first lines of the tale in warehouses. And from that moment on, I developed a strong friendship with the poet. But, selflessly loving his poems, did I appreciate them according to their merits? ..

Reduced stylistic coloring words (snub-nosed girl, climbed in), colloquial expressions (a strong friendship began, appreciated according to merit) are stylistically inappropriate in the context, as are phrases that gravitate toward official business speech (acquaintance took place, starting from this moment). The author’s lack of linguistic intuition is also evidenced by such reservations: “acquaintance took place from a fairy tale”, “read ... lines by syllables” (only words can be read by syllables), “huddled up” (they curl up), etc.

A person who neglects the requirements of the stylistic selection of language means, without hesitation, declares: “When Tatyana was introduced to Onegin, not a single vein trembled on the face secular ladies"; "Meeting with Natasha, moonlit night in Otradnoe did their job..."“We get acquainted with the landowner Korobochka. This is tradeswoman, stupid and obscure. Of course, the varied vocabulary in such cases testifies to the inability to correctly formulate a thought. However, such a sharp violation of the stylistic norms of written speech is not so common in essays.

Another evil causes more damage to the style - the habit of schoolchildren to write about the great masters of the word, about their favorite literary heroes in a colorless, inexpressive language, often having a clerical tinge. Every now and then in the writings we read: “Radishchev negative attitude to tsarist autocracy"; "Griboyedov negative attitude to the Famus society”; "Chatsky negative attitude to gallomania"; "Refusal of serfdom is an the main idea of Pushkin's poem "The Village""; “These words (“Here is a wild nobility ...) were a protest against Russian reality”; “Tatyana is an my favorite literary hero"; "Katerina is an"a ray of light in a dark kingdom". The use of the same words when describing a wide variety of literary heroes, the repetition of stamped expressions deprives speech of liveliness, gives it a clerical coloring. It would seem, where does clericalism come from in the language of schoolchildren? And yet we constantly find them in the writings: “Pushkin gave a positive description of Tatyana "", Onegin made an attempt "to engage in socially useful work" etc.

The clerical coloring of speech is given by verbal nouns, which in essays on any topic, as a rule, displace stylistically neutral verb forms: “Manilov spends all his time in construction castles in the air"; “When the gendarme announces the arrival of a real auditor, all officials come to petrification".

Even Pushkin's Tatyana is described by students in the same colorless language, "decorating" phrases with verbal nouns: "Tatyana spent my time reading French novels"; "Tatyana faith was characteristic in the legends of common people's antiquity"; "Explanation Tatyana with Onegin going on in the garden"; " Talk Tatyana with a nanny going on at night"; "For disclosure the image of Tatyana is of great importance episode of her conversation with a nanny. Can't you just write: To understand Tatyana, let's remember how she talks to the nanny!

If the topic of the essay refers to revolutionary events, the author considers it his duty to report: “There is an increase in self-awareness workers"; “There is an increase in activity in revolutionary activity”; "There's an awakening revolutionary consciousness of the masses”; "There is preparation to a revolutionary action”, etc. All this is true, but why does everyone write about it the same way, using the same clerical turns of speech?

Often in writings you can read: “For understanding writer's intention it is important to reveal the motives that guide the protagonist". Why not put it simply, for example, even like this: in order to penetrate the writer's intention, it is necessary to understand the motives that guide the actions of the protagonist?

In almost every essay one can find stamped formulations: “Onegin - a typical phenomenon of the pre-Decembrist era”,"Pechorin - typical phenomenon of his time", "Kirsanov - typical representative liberal nobility. Such examples should not be imitated!

The language of the essay should be expressive, emotional. It can become so only on condition that the writer does not repeat memorized phrases, well-known book formulations, but tries to find his own words to express thoughts and feelings.

The style of the composition will not be colorless, devoid of lively colors if its author turns to emotional, expressive vocabulary. You can cite an excerpt from an essay written in bright, good language.

Although Nilovna is only forty years old, she considers herself an old woman. She felt old, having not truly experienced either childhood or youth, having not experienced the joy of “recognizing” the world. As if emphasizing the terrible past of Nilovna, Gorky paints her portrait in such a way that sad, gray tones predominate in it: “She was tall, slightly stooped, her body, broken by long work and her husband’s beatings, moved silently and somehow sideways ... Above the right eyebrow there was a deep scar ... She was all soft, sad and submissive. Surprise and fear - that's what constantly expressed the face of this woman. The sad image of the mother cannot leave us indifferent...

Do not impoverish your speech! Use bright emotionally expressive vocabulary, which our language is so rich in! Then your writings can be cited as an example of good style.

The school textbook also refers to them as the style of fiction.

They belong to the branch of science that deals with teaching the differentiated use of language in communication, as well as providing knowledge regarding the language itself and the corresponding tools necessary for its use. It is called "stylistics", and its predecessor was rhetoric (the concept of oratory), which dealt exclusively with the public style of speech. Stylistics as a science covers all systems of speech means. This is a kind of teaching regarding the most effective forms of expression of thoughts and feelings.

What are stylistically colored words?

They are used exclusively in specific styles, in particular:

Scientific vocabulary. It includes words that are used in the field of education, science and technology (for example, range, laser, etc.).
Political vocabulary. This includes words used in the public, political field (candidate, dissertation, Duma, etc.).
It is represented by words that are used mainly in everyday communication, orally (large, pictures, Internet, etc.). Within the framework of works of art, it is used to characterize the main characters.

Summarizing the above, we can formulate what stylistically colored words are. These are words that have an additional meaning, more precisely, they name an object and convey its corresponding assessment (neglect, approval, irony, etc.), as well as certain emotions in relation to it.

Variety of stylistic coloring

It is represented by two components:

1. Functional-target stylistic coloring (coloring of individual units of the language), which, in turn, is divided into three main types:

colloquial;
book;
neutral.

The first two types can be:

Grammatical forms (for example, contracts (neutral) - contracts (colloquial);

Words (for example, place (neutral) - location (book);

Phraseological units (for example, stretch your legs (colloquial) - rest in eternal sleep (book);

Sentences (for example, due to bad weather conditions, the flight is delayed (neutral) - due to fog, I did not fly away (colloquial).

2. Expressive-evaluative stylistic coloring (not tied to a specific style, contained in the word itself) includes three types:

reduced;
increased;
neutral.

Example: life (neutral) - life (reduced) - life (increased).

Neutral and stylistically colored words

Vocabulary in the literary language is usually divided into two main components: stylistically colored and neutral vocabulary.

Neutral vocabulary - words that are not tied to any of the existing styles of speech, that is, they can be used in any system of speech means, because they are not expressively and emotionally colored. However, these words have stylistic synonyms (colloquial, bookish, vernacular).

According to the theory of M. V. Lomonosov (“Three Calms”), all other words refer either to a high system of speech means (for example, rest, fatherland, etc.) or to a low one (for example, the other day, belly, etc.) .).

In this regard, there is colloquial vocabulary (grey gelding, tsyts, etc.) and book vocabulary, which, in turn, is divided into the following types:

Directions of linguistic stylistics

There are two in particular:

language style;
style of speech (functional style).

The first direction studies the stylistic means of vocabulary, grammar and phraseology, as well as the stylistic structure of the language.

The second is different types of speech and their conditionality by various goals of the utterance.

Linguistic stylistics should contain the principle of consistency and functionality and reflect the relationship of various types of speech with the purpose of the statement, its subject matter, communication conditions, the author's attitude and the addressee of the speech.

Styles are various combinations of the use of language in the process of communication. Each system of speech means is characterized by the originality of the language means used, as well as their unique combination with each other.

Thus, it is worth formulating a definition of what linguistic stylistics is. This is, first of all, a section of linguistics that studies various styles (language, speech, genre, etc.). Also, the subject of her research is the emotional, expressive and evaluative properties of language units both in the paradigmatic sense (within the framework of the language system) and in the syntagmatic aspect (in various areas of communication).

The structure of the considered section of linguistics

These include combinations that are sustainable (employment service, public sector workers, international, etc.). They are widely used by journalists due to the fact that it is impossible to constantly invent fundamentally new means of expression.

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