High style in fiction. Artistic style: what is it, examples, genres, language tools

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, the facts of his life, which 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

Introduction

1. Literary and artistic style

2. Figurativeness as a unit of figurativeness and expressiveness

3. Vocabulary with objective meaning as the basis of figurativeness

Conclusion

Literature

Introduction

Depending on the scope of the language, the content of the utterance, the situation and goals of communication, several functional and stylistic varieties, or styles, are distinguished, characterized by a certain system of selection and organization of language means in them.

Functional style is a historically developed and socially conscious variety of the literary language (its subsystem), functioning in a certain area of human activity and communication, created by the peculiarities of the use of language means in this area and their specific organization.

The classification of styles is based on extralinguistic factors: the scope of the language, the topics determined by it and the goals of communication. The spheres of application of the language correlate with the types of human activity corresponding to the forms of social consciousness (science, law, politics, art). Traditional and socially significant areas of activity are: scientific, business (administrative-legal), socio-political, artistic. Accordingly, they also distinguish styles of official speech (bookish): scientific, official business, journalistic, literary and artistic (artistic). They are opposed to the style of informal speech - colloquial and everyday.

The literary and artistic style of speech stands apart in this classification, since the question of the legality of its allocation into a separate functional style has not yet been resolved, since it has rather blurred boundaries and can use the language means of all other styles. The specificity of this style is also the presence in it of various figurative and expressive means to convey a special property - figurativeness.

1. Literary and artistic style

As we noted above, the issue of the language of fiction and its place in the system of functional styles is solved ambiguously: some researchers (V.V. Vinogradov, R.A. Budagov, A.I. Efimov, M.N. Kozhina, A. N. Vasilyeva, B.N. Golovin) include a special artistic style in the system of functional styles, others (L.Yu. Maksimov, K.A. Panfilov, M.M. Shansky, D.N. Shmelev, V.D. Bondaletov) consider that there is no reason for this. The following are given as arguments against singling out the style of fiction: 1) the language of fiction is not included in the concept of literary language; 2) it is multi-styled, not closed, does not have specific signs that would be inherent in the language of fiction as a whole; 3) the language of fiction has a special, aesthetic function, which is expressed in a very specific use of linguistic means.

It seems to us that the opinion of M.N. Kozhina that “bringing artistic speech beyond the limits of functional styles impoverishes our understanding of the functions of the language. If we deduce artistic speech from among the functional styles, but consider that the literary language exists in a variety of functions, and this cannot be denied, then it turns out that the aesthetic function is not one of the functions of the language. The use of language in the aesthetic sphere is one of the highest achievements of the literary language, and because of this, neither the literary language ceases to be such when it enters a work of art, nor the language of fiction ceases to be a manifestation of the literary language.

The main goal of the literary and 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 a work of art and the reader, the aesthetic impact on the reader with the help of artistic images.

It is used in literary works of various kinds and genres: stories, novellas, novels, poems, poems, tragedies, comedies, etc.

The language of fiction, despite the stylistic heterogeneity, despite the fact that the author's individuality is clearly manifested in it, still differs in a number of specific features that make it possible to distinguish artistic speech from any other style.

The features of the language of fiction as a whole are determined by several factors. It is characterized by broad metaphor, figurativeness of language units of almost all levels, the use of synonyms of all types, ambiguity, different stylistic layers of vocabulary. In the artistic style (compared to other functional styles) there are laws of perception of the word. The meaning of a word is largely determined by the author's goal setting, genre and compositional features of the work of art, of which this word is an element: firstly, in the context of a given literary work, it can acquire artistic ambiguity that is not recorded in dictionaries, and secondly, it retains its connection with the ideological and aesthetic system of this work and is assessed by us as beautiful or ugly, sublime or base, tragic or comic:

The use of linguistic means in fiction is ultimately subordinated to the author's intention, the content of the work, the creation of the image and the impact through it on the addressee. Writers in their works proceed primarily from the fact that they correctly convey the thought, feeling, truthfully reveal the spiritual world of the hero, realistically recreate the language and image. Not only the normative facts of the language, but also deviations from general literary norms are subject to the author's intention, the desire for artistic truth.

The breadth of coverage of the means of the national language by artistic speech is so great that it allows us to assert the idea of the fundamental potential possibility of including all existing linguistic means (albeit connected in a certain way) in the style of fiction.

These facts indicate that the style of fiction has a number of features that allow it to take its own special place in the system of functional styles of the Russian language.

2. Figurativeness as a unit of figurativeness and expressiveness

Figurativeness and expressiveness are integral properties of the artistic and literary style, therefore, from this we can conclude that figurativeness is a necessary element of this style. However, this concept is still much broader, most often in linguistics the question of imagery of a word as a unit of language and speech, or, in other words, lexical imagery, is considered.

In this regard, figurativeness is considered as one of the connotative characteristics of a word, as the ability of a word to contain and reproduce in speech communication a concrete-sensory appearance (image) of an object, fixed in the minds of native speakers, a kind of visual or auditory representation.

In the work of N.A. Lukyanova "On the semantics and types of expressive lexical units" contains a number of judgments about lexical imagery, which we fully share. Here are some of them (in our formulation):

1. Imagery is a semantic component that actualizes sensory associations (representations) associated with a certain word, and through it with a specific object, a phenomenon called this word.

2. Imagery can be motivated and unmotivated.

3. The linguistic (semantic) basis of motivated figurative expressive words is:

a) figurative associations that arise when comparing two ideas about real objects, phenomena - metaphorical figurativeness (boil - "to be in a state of strong indignation, anger"; dry - "to worry a lot, take care of someone, something");

b) sound associations - (burn, grunt);

c) the figurativeness of the internal form as a result of word-formation motivation (play, star, shrink).

4. The linguistic basis of unmotivated figurativeness is created due to a number of factors: obscuration of the inner form of the word, individual figurative representations, etc.

Thus, we can say that figurativeness is one of the most important structural and semantic properties of a word, which affects its semantics, valence, emotional and expressive status. The processes of formation of verbal imagery are most directly and organically associated with the processes of metaphorization, that is, they serve as figurative and expressive means.

Figurativeness is “figurativeness and expressiveness”, that is, the functions of a language unit in speech with the features of its structural organization and a certain environment, which reflects exactly the plan of expression.

The category of figurativeness, being a mandatory structural characteristic of each language unit, covers all levels of reflection of the surrounding world. It is precisely because of this constant ability to potentially generate figurative dominants that it became possible to talk about such qualities of speech as figurativeness and expressiveness.

They, in turn, are characterized precisely by the ability to create (or actualize linguistic figurative dominants) sensory images, their special representation and saturation with associations in the mind. The true function of figurativeness is revealed only when referring to a real objective action - speech. Consequently, the reason for such qualities of speech as figurativeness and expressiveness lies in the language system and can be found at any of its levels, and this reason is figurativeness - a special inseparable structural characteristic of a language unit, while already the objectivity of the reflection of the representation and the activity of its construction can be studied only at the level of the functional implementation of a language unit. In particular, it can be vocabulary with a subject-specific meaning, as the main means of figurativeness.

Language fiction sometimes erroneously called the literary language*. However, in reality, artistic speech is characterized by the fact that all linguistic means can be used here, and not only units of functional varieties of the literary language, but also elements of vernacular, social and professional jargons, and local dialects. The writer subordinates the selection and use of these means to the aesthetic goals that he strives to achieve by creating his work.

In a literary text, various means of linguistic expression are fused into a single, stylistically and aesthetically justified system, to which the normative assessments applied to individual functional styles of the literary language are inapplicable.

One of the features of the artistic style is the use of figurative language tools to fulfill the tasks set by the artist ( Sad time! Eyes charm ... - A. Pushkin). The word in artistic speech is a means of creating images and acts as a means of the artistic meaning of the work.

The selection of words, phrases, the construction of the entire work of art is subject to the author's intention.

To create an image, a writer can use even the simplest language tools. So in A. Chekhov's story "Long Tongue", the character of the heroine, deceitful, stupid, frivolous, is created through the repetition of words in her speech (But, Vasechka, what mountains are there! Imagine high, high mountains, a thousand times higher than Church... Above, fog, fog, fog... Below are huge stones, stones, stones...).

Artistic speech has a high emotional ambiguity, the author in one text can intentionally “collide” different meanings of the same word (The one that, having sipped passion, only swallowed silt. - M. Tsvetaeva).

The meaning of a literary work is ambiguous, hence the possibility of a different reading of a literary text, its different interpretation, different assessments.

We can say that the artistic style activates the entire arsenal of linguistic means.

Features of the conversational style.

The colloquial style is so different from all others that scientists have even proposed a different name for it - colloquial speech. The conversational style corresponds to the everyday sphere of communication, uses the oral form, allows all types of speech (monologue, dialogue, polylogue), the mode of communication here is personal. In colloquial style, in contrast to the oral form of other styles, deviations from literary pronunciation are quite significant.

The colloquial variety of the literary language is used in various types of domestic relations of people, provided that communication is easy. Conversational speech differs from written and written not only in form, but also in such features as unpreparedness, unplannedness, spontaneity, and direct contact between participants in communication.

The colloquial variety of the literary language, unlike the written language, is not subject to purposeful normalization, but it has certain norms as a result of the speech tradition. This kind of literary language is not so clearly divided into speech genres. However, here, too, various speech features can be distinguished - depending on the conditions in which communication takes place, on the relationship of the participants in the conversation, etc.

Naturally, a lot of everyday vocabulary is used in colloquial style ( kettle, broom, apartment, sink, faucet, cup). Many words have a connotation of contempt, familiarity, condescension ( to get drunk - to learn, to spit - to speak).

In this style, many words take on a "multi-component" meaning, which is very clearly seen in the examples: How are you? -Fine. How was your trip? -Fine. No headache? -Fine. To yousimple hamburger or double? This issimple socks or synthetic? For me, please, a common notebook andsimple .

Participles and participles in a colloquial style are almost never used, but very often - particles here, well, then as well as simple, non-union complex and incomplete sentences.

Vocabulary of the colloquial style is predominantly everyday content, specific. The colloquial style is characterized by the economy of speech means (five-story building, condensed milk, utility room, Kat, Van, etc.). Phraseological units are actively used, which have expressiveness and reducedness (like water off a duck's back, play in a box, heavy on the rise, fool around, wash your hands, etc.). Words with different stylistic coloring are used (weaving bookish, colloquial, colloquial words) - the car "Lada" is called "Zhiguli", "Zhiguli".

With seeming freedom in the choice of words and sentence construction, the conversational style is characterized by a large number of standard phrases and expressions. This is natural, because everyday situations (traveling by transport, talking at home, shopping in a store, etc.) are repeated, and in place of them, linguistic ways of expressing them are fixed.

Instruction

This style can be otherwise called the style of fiction. It is used in verbal and artistic creativity. Its main goal is to influence the feelings and thoughts of readers and listeners with the help of images created by the author.

Artistic style (like any other) involves the selection of linguistic means. But in it, unlike the official business and scientific styles, all the richness of vocabulary, special figurativeness and emotionality of speech are widely used. In addition, he uses the possibilities of different styles: colloquial, journalistic, scientific and official business.

The artistic style is distinguished by a special attention to the random and the particular, behind which the typical features and images of the time are visible. As an example, we can recall "Dead Souls", where N.V. Gogol portrayed landowners, each of whom is the personification of certain human qualities, but all of them together are the "face" of Russia in the 19th century.

Another distinctive feature of the artistic style is the subjective moment, the presence of the author's fiction or the "re-creation" of reality. The world of a literary work is the world of a writer, where reality is presented through his vision. In a literary text, the author expresses his preferences, rejections, condemnation and admiration. Therefore, the artistic style is characterized by expressiveness, emotionality, metaphor and versatility.

To prove the artistic style, read the text and analyze the language used in it. Pay attention to their diversity. Literary works use a large number of tropes (epithets, metaphors, comparisons, hyperboles, personifications, paraphrases and allegories) and stylistic figures (anaphoras, antitheses, oxymorons, rhetorical questions and appeals, etc.). For example: “a man with a marigold” (litote), “a horse runs - the earth trembles” (allegory), “streams ran from the mountains” (personification).

In the artistic style, the ambiguity of words is clearly manifested. Writers often discover additional meanings and meanings in them. For example, the adjective "lead" in a scientific or journalistic style will be used in its direct meaning "lead bullet" and "lead ore", in an artistic style, most likely, it will act as a metaphor for "lead twilight" or "lead clouds".

When parsing the text, be sure to pay attention to its function. If the conversational style serves for communication or communication, the official business and scientific style are informative, and the artistic style is intended for emotional impact. Its main function is aesthetic, to which all linguistic means used in a literary work are subject.

Determine in what form the text is implemented. Artistic style is used in drama, prose and poetry. They are respectively divided into genres (tragedy, comedy, drama; novel, story, short story, miniature; poem, fable, poem, etc.).

note

The basis of the artistic style is the literary language. But often it uses colloquial and professional vocabulary, dialectisms and vernacular. This is due to the desire of writers to create a special unique author's style and give the text a vivid imagery.

Helpful advice

Style can be determined only by the totality of all features (functions, set of language tools, form of implementation).

Sources:

Artistic style: language and features
how to prove that the text

Tip 2: Distinctive features of the official-business style of the text

The language used in different areas of activity differs, in addition, it can be very different from spoken language. For such spheres of public life as science, office work, jurisprudence, politics and the media, there are subtypes of the Russian language that have their own characteristic features, both lexical and morphological, syntactic and textual. It has its own stylistic features and official business text.

Why you need a formal business style when writing

The official business style of the text is one of the functional subtypes of the Russian language, which is used only in one specific case - when conducting business correspondence in the field of social and legal relations. It is implemented in lawmaking, managerial and economic activities. In writing, its document and can, in fact, be a letter, and an order, and a normative act.

Business documents can be presented to the court as evidence at any time, since they, due to their specifics, have legal force.

Such a document has legal significance, its originator acts, as a rule, not as a private person, but is an authorized representative of the organization. Therefore, any official business text is subject to increased requirements to eliminate ambiguity and ambiguity of interpretation. Also, the text should be accurate communicatively and adequately reflect the thoughts that the author expresses.

The main features of the official business style

The main feature of official business communication is the standardization of phraseological units used, it is with its help that communicative accuracy is ensured, which gives legal force to any document. These standard phrases make it possible to exclude ambiguity of interpretation, therefore, in such documents, repeated repetition of the same words, names and terms is quite acceptable.

An official business document must necessarily have details - output data, and specific requirements are also imposed on their location on the page.

The text written in this style is emphatically logical and unemotional. It should be extremely informative, so thoughts have strict wording, and the presentation of the situation itself should be restrained, using stylistically neutral words and expressions. The use of any phrases that carry an emotional load, expressions used in vernacular, and even more so slang, is excluded.

To eliminate ambiguity in a business document, personal demonstrative pronouns (“he”, “she”, “they”) are not used, since in a context with two nouns of the same gender, ambiguity of interpretation or contradiction may appear. As a consequence of the obligatory condition of logic and argumentation, when writing a business text, complex sentences are used with a large number of conjunctions that convey the logic of relations. For example, constructions that are not often used in ordinary life are used, including conjunctions such as: “due to the fact that”, “for what”.

Mandatory wardrobe items for a Parisian.

Many of the fair sex, who strive to look stylish and sophisticated every day, have a set of basic, must-have items in their wardrobe. What kind of items can be found in the closet of a Parisian?

1. Ballerinas. Contrary to popular belief, high heels are not always preferred. In everyday life they wear comfortable ballet flats with thin soles.

2.Bag with long strap. A handbag thrown over one shoulder is a habit of a large number of residents of the fashionable capital.

3.The scarf is large. A variety of voluminous scarves are preferred by residents of many countries. However, most Parisians believe that this is an indispensable and absolutely necessary accessory in the cold season.

4. Fitted jacket, raincoat or jacket. A truly French style is to wear fitted jackets. They are decorated with thin straps or worn wide open.

5.Large sunglasses. In combination with hair pulled up in a tight ponytail, bun or updo, these glasses look especially stylish and elegant.

6. Black clothes. The black color for the inhabitants of Paris is not the color of mourning. For them, he is the personification of style and grace. Therefore, to create a Parisian look, you must have black T-shirts, T-shirts, sweaters and other items of clothing in your wardrobe.

Which is unacceptable for the Parisian style.

There are things that a lady with truly French views on fashion will never allow herself to buy, much less wear. In one of the first places on the list of bad manners were too long bright false nails. Many representatives of France prefer naturalness and neutrality in everything. Including in .

A miniskirt in combination with a deep neckline is also not in the style of a resident of the fashion capital. The true one is unlikely to allow herself to look too frank and too sexy.

Bright hair color, multi-colored highlighting, flashy accessories, all kinds of bouffants and a huge amount of hair styling products. In most cases, a lady living in Paris will bypass this entire list and will only be surprised that it occurred to someone to experiment with their appearance in such a way.

The main criterion that distinguishes a true Parisian is harmony in everything: in clothes, style, look, hairstyle, accessories. She does not seek to repeat someone's image and is of the opinion that each person is unique.

Actually scientific style of speech

Most research monographs and solid scientific articles belong to the proper scientific style. The peculiarity of this genre is that such texts, as a rule, are written by professional scientists for the same specialists. Such an academic style is very often found in scientific works devoted to one issue, as well as in small-sized essays, where the author presents the results of scientific research.

Texts written in the proper scientific style are distinguished by the accuracy of presentation, verified logical constructions, an abundance of generalizing terms and abstract concepts. A standard academic text composed in this genre has a strict structural composition, which includes a title, introductory and main parts, conclusions and a conclusion.

Scientific and informative genre of scientific style

The scientific-informative genre is considered a secondary form of the scientific style of speech. It, as a rule, is compiled on the basis of some basic, supporting text. In this case, original monographs or articles are often taken as a basis. An example of texts made in the scientific and informative genre can be theses, or.

A scientific-informative text is a creatively revised presentation of the primary material, which completely coincides with it in meaning. However, it does not contain all, but only basic information, only the most essential information about the subject. Writing works in this genre requires the ability to work with scientific literature, evaluate sources and transmit their content in a compressed form without distortion.

Other genres of scientific style of speech

Linguists often combine texts of scientific-reference, educational-scientific and popular science genres of scientific style into one large group. These sub-styles are characterized by the focus of information not so much on specialists, but on those who are far from the specifics of the subject placed at the center of the publication. In this case, not only the results of scientific research are important, but also the form.

In the educational and scientific genre, textbooks and lecture texts are most often written. The scientific reference genre, characterized by extreme clarity and conciseness, is typical for reference publications, scientific dictionaries, encyclopedias and catalogues. Texts compiled in the popular science genre are less tied to special terminology. They are often used in books intended for a mass audience, as well as in television and radio programs covering scientific topics.

Topic 10. Language features of the artistic style

Topic 10.LANGUAGE FEATURES OF THE ARTISTIC STYLE

A beautiful thought loses its price

if it is badly expressed.

Voltaire

Lesson plan:

Theoretical block

Trails. Types of trails.

stylistic figures. Types of stylistic figures.

Functional characteristics of language means of expression in artistic style.

Practice block

Identification of figurative and expressive means in the texts of the artistic style and their analysis

Functional characteristics of paths and figures

Compilation of texts using reference expressions

Tasks for SRO

Bibliography:

1.Golub I.B. Stylistics of the Russian language. - M., 1997. - 448 p.

2. Kozhin BUT.H., Krylova O.BUT., Odintsov AT.AT. Functional types of Russian speech. - M.: Higher School, 1982. - 392 p.

3.Lapteva, M. A. Russian language and culture of speech. - Krasnoyarsk: CPI KSTU, 2006. - 216 p.

4.Rosenthal D.E. Reference book on the Russian language. Practical stylistics of the Russian language. - M., 2001. - 381 p.

5.Khamidova L.V.,Shakhova L.BUT. Practical style and culture of speech. - Tambov: TSTU Publishing House, 2001. - 34 p.

THEORETICAL BLOCK

Linguistic features of the artistic style

Lexical	Widespread use of words in a figurative sense; Intentional clash of different styles of vocabulary; The use of vocabulary with a two-dimensional stylistic coloring; The presence of emotionally colored words; Greater preference for the use of specific vocabulary; Widespread use of folk-poetic words.
Word-building	The use of various means and models of word formation;
Morphological	The use of word forms in which the category of concreteness is manifested; Frequency of verbs; Passivity of indefinite personal forms of verbs, forms of the 3rd person; Slight use of neuter nouns compared to masculine and feminine nouns; Plural forms of abstract and material nouns; Wide use of adjectives and adverbs.
Syntactic	Use of the entire arsenal of syntactic means available in the language; Extensive use of stylistic figures; The wide use of dialogue, sentences with direct speech, improperly direct and indirect; Active use of parceling; Inadmissibility of syntactically monotonous speech; Using the means of poetic syntax.

The artistic style of speech is distinguished by figurativeness, expressiveness, and the widespread use of figurative and expressive means of the language. The means of artistic expression give brightness to speech, enhance its emotional impact, attract the attention of the reader and listener to the statement.

The means of expression in the artistic style are varied and numerous. Typically, researchers distinguish two groups of visual and expressive means: paths and stylistic figures.

THE MOST COMMON TYPES OF TRAILS

	Characteristic	Examples
Epithet		your thoughtful nights transparent dusk. (BUT.Pushkin)
Metaphor		dissuaded by the grovegolden Birch cheerful language. (With. Yesenin)
personification-rhenium	kind of metaphor, the transfer of signs of a living being to natural phenomena, objects and concepts.	Asleep green alley (To.Balmont)
Metonymy		Well, eat some more plate, my dear (And.BUT. Krylov)
Synecdoche	A kind of metonymy, transferring the name of a whole to a part of this whole or the name of a part to the whole	Friends, Romans, compatriots, lend me your ears. (Y. Caesar)
Comparison		The moon is shining as huge cold ball. Starfall foliage flew . (D. With amoilov)
paraphrase	A turnover consisting in replacing the name of an object or phenomenon with a description of their essential features or an indication of their character traits	King of beasts (lion) snow beauty (winter), black gold (oil)
Hyperbola		AT one hundred thousand suns the sunset was blazing AT.AT. Mayakovsky)
Litotes		little man with a fingernail (H.BUT. Nekrasov)
Allegory		In the fables of I. Krylov: donkey- stupidity a fox- cunning wolf– greed

STYLISTIC FIGURES

	Characteristic	Examples
Anaphora	Repetition of individual words or phrases at the beginning of the passages that make up the statement	Not in vain did the winds blow, Not in vain did the storm go. … (With.Yesenin)
Epiphora	Repetition of words or expressions at the end of adjacent passages, lines, phrases	Here the guests came ashore, Tsar Saltan calls them to visit ( BUT.Pushkin)
Antithesis	This is a turnover in which opposite concepts are contrasted to enhance the expressiveness of speech.	I'm stupid and you're smart Alive and I'm dumbfounded... (M.Tsvetaeva)
Asyndeton	Intentional omission of connecting unions between members of a sentence or between sentences	(And.Reznik)
polyunion	Intentional use of repeating unions for logical and intonational underlining of the members of the sentence connected by unions	And flowers, and bumblebees, and grass, and ears of corn, And azure, and midday heat ... (And.Bunin)
gradation	Such an arrangement of words, in which each subsequent contains an increasing meaning	I do not regret, do not call, do not cry ( With.Yesenin)
Inversion	Violation of the usual word order in a sentence, reverse word order	A dazzlingly bright flame escaped from the furnace (H. Gladkov)
Parallelism	The same syntactic construction of adjacent sentences or segments of speech	What is he looking for in a distant country? What did he throw in his native land? (M. Lermontov)
Rhetorical question	Question that does not require an answer	To whom in Russia to live well? ( H.BUT. Nekrasov)
Rhetorical exclamation	Expression of a statement in exclamation form.	What magic, kindness, light in the word teacher! And how great is its role in the life of each of us! ( AT. Sukhomlinsky)
Ellipsis	Construction with a specially omitted, but implied by any member of the sentence (more often - a predicate)	I - for a candle, a candle - in the stove! I - for a book, that one - to run and jump under the bed! (TO. Chukovsky)
Oxymoron	A combination of words that contradict each other, logically exclude each other	Dead souls, living corpse, hot snow

PRACTICE BLOCK

Questions for discussion and consolidation :

What are the main features of the artistic style of speech?

What area does the artistic style of speech serve?

What means of artistic expression do you know?

What groups are the figurative and expressive means of the language divided into?

What are trails? Describe them.

What is the function of the trail in the text?

What stylistic figures do you know?

What is the purpose of stylistic figures in the text?

Describe the types of stylistic figures.

Exercise 1 . Establish a correspondence: find the corresponding definitions for the concepts below - paths (left column) (right column)

	Concepts	Definitions
	personification	Artistic, figurative definition
	Metaphor	A turnover consisting in replacing the name of an object or phenomenon with a description of their essential features or an indication of their characteristic features
	paraphrase	The use of a word or expression in a figurative sense based on similarity, comparison, analogy
	Synecdoche	An expression containing an exorbitant underestimation of a phenomenon
	Hyperbola	The use of the name of one object instead of the name of another on the basis of external or internal connection between them, adjacency
	Comparison	Allegorical image of an abstract concept with the help of a specific life image
		The transfer of meaning from one phenomenon to another on the basis of the quantitative relationship between them
	Allegory	Comparison of two phenomena in order to explain one of them with the help of the other
		Attribution to inanimate objects of signs and properties of living beings
	Metonymy	Figurative expression containing exorbitant exaggeration

Exercise 2 . Find epithets in the sentences. Determine the form of their expression. What role do they play in the text? Make up your sentences using epithets.

1. On a heavenly blue dish of yellow clouds, honey smoke .... (S. E.). 2. Stands alone in the north wild ...(Lerm); 3. Around the whitening ponds, bushes in fluffy sheepskin coats ... (March.). 4. In the waves are rushing, thundering and sparkling.

Exercise 3 .

1. Asleep earth in blue radiance ... (Lerm.). 2. I had an early, still drowsy morning and deaf night. (Greene). 3. Appeared in the distance train head. 4. building wing obviously in need of repair. 4. Ship flies by the will of stormy waters ... (Lerm.). 5. Liquid, early breeze already went wandering and flutter over the earth ... (Turg.). 6. Silver smoke rose to a pure and precious sky ... (Paust.)

Exercise 4 . Find examples of metonymy in the sentences. What is the metonymic transfer of names based on? Make up your sentences using metonymy.

1. Preparing for the exam, Murat re-read Tolstoy. 2. The class enjoyed visiting the porcelain exhibition. 3. The whole city came out to meet the astronaut. 4. It was quiet outside, the house was asleep. 5. The audience listened to the speaker carefully. 6. Athletes brought gold and silver from the competition.

Exercise 5 . Determine the meaning of the highlighted words. What type of trail can they be classified as? Make up your sentences using the same type of trail.

1. Sundress for caftan doesn't run. (last). 2. All flags will visit us (P.). 3. Blue berets hurriedly landed on the beach. 4. Best beards countries gathered for a performance. (I. Ilf). 5. A woman in a hat was standing in front of me. Hat resented. 6. After some deliberation, we decided to catch motor.

Exercise 6. Find comparisons in sentences. Determine the form of their expression. Make up your sentences using comparisons of different forms of expression.

1. Large drops of dew blushed everywhere like radiant diamonds. (Turg.) 2. Her dress was the color of green. 3. Dawn blazed with fire .... (Turg.). 4. Light fell from under the cap with a wide cone ... (Bitov). 5. Words, like night hawks, break from hot lips. (B. Ok.). 6. The day rustles with a newspaper outside the door, runs as a late schoolboy. (Slutsk.). 7. Ice, like melting sugar, lies on a frozen river.

Exercise 7 . Read the sentences. Write them down. Give examples of impersonation

(1 option); hyperbolas ( Option 2); c) lithos ( 3 option). Justify your answer.

Silent sadness will be comforted, And joy will reflect friskyly ... ( P.).

Bloomers as wide as the Black Sea ... ( Gogol).

The autumn night burst into icy tears ... ( Fet).

And we haven’t seen each other for probably a hundred years ... ( Ruby).

The horse is being led by the bridle by a peasant in big boots, a sheepskin coat, and big mittens... and he with a fingernail! (Necr.).

Some houses are as long as the stars, others as long as the moon; sky high baobabs

(Lighthouse.).

Your Spitz is a lovely Spitz, no more than a thimble! ( Griboyedov).

Exercise 8. Read the text.

It was a beautiful July day, one of those days that only happens when the weather has settled for a long time. From early morning the sky is clear; the morning dawn does not burn with fire: it spreads with a gentle blush. The sun - not fiery, not hot, as during a sultry drought, not dull-purple, as before a storm, but bright and welcomingly radiant - peacefully rises under a narrow and long cloud, shines freshly and plunges into a purple fog. The upper, thin edge of the stretched cloud will sparkle with snakes; their brilliance is like that of hammered silver...

But here again the playful rays gushed, and the mighty luminary rises cheerfully and majestically, as if taking off. Around noon there usually appear many round high clouds, golden gray, with delicate white edges.

Like islands scattered along an endlessly overflowing river flowing around them with deeply transparent sleeves of even blue, they hardly budge; further, towards the sky, they shift, crowd, the blue between them can no longer be seen; but they themselves are as azure as the sky: they are all permeated through and through with light and warmth. The color of the sky, light, pale lilac, does not change all day and is the same all around; nowhere does it get dark, the thunderstorm does not thicken; except in some places bluish stripes stretch from top to bottom: then a barely noticeable rain is sown. By evening, these clouds disappear; the last of them, blackish and indefinite as smoke, fall in rosy puffs against the setting sun; in the place where it set as calmly as it calmly ascended into the sky, a scarlet radiance stands for a short time over the darkened earth, and, quietly blinking, like a carefully carried candle, the evening star will light up on it. On such days the colors are all softened; light, but not bright; everything bears the stamp of some touching meekness. On such days the heat is sometimes very strong, sometimes even "floating" over the slopes of the fields; but the wind disperses, pushes the accumulated heat, and whirlwinds-circles - an undoubted sign of constant weather - walk along the roads through the arable land in high white pillars. In dry and clean air it smells of wormwood, compressed rye, buckwheat; even an hour before night you don't feel damp. The farmer wants such weather for harvesting grain ... (I. Turgenev. Bezhin meadow.)

Write out unfamiliar words from the text, determine their meaning.

Define the style and type of text.

Divide the text into semantic parts. Formulate the main idea of the text, its theme. Title the text.

What words carry a special meaning in the text?

Indicate the words of one thematic group.

Find definitions in the text. Are they all epithets?

What means of artistic expression did the author use in the text?

Write out examples of tropes from the text: epithets ( 1 option); comparisons( Option 2); metaphors. ( 3 option). Justify your choice.

Exercise 9. Read the texts about winter.

1. Winter is the coldest time of the year. ( With. Ozhegov).

2. Winter on the coast is not as bad as in the depths of the peninsula, and the mercury in the thermometer does not fall below forty-two, and the farther from the ocean, the stronger the frost - so the old-timers believe that forty-two below zero is something like September frosts on the grass. But near the water, the weather is more changeable: either a blizzard powders the eyes, people walk with a wall against the wind, then the frost grabs the living and, like a leprosy, whitens it, then you have to rub it with a cloth until it bleeds, that's why they say: "Three to the nose, everything will pass." ( B. Kryachko)

Hello, in a white sundress

From silver brocade!

Diamonds burn on you like bright rays.

Hello Russian girl,

Coloring soul.

white winch,

Hello winter winter! ( P. Vyazemsky)

4. Beautiful, wonderful Russian forest in winter. Deep, clean snowdrifts lie under the trees. Above the forest paths, lacy white arches bent under the weight of frost, the trunks of young birch trees. Dark green branches of tall and small firs are covered with heavy caps of white snow. You stand and admire their peaks, studded with necklaces of purple cones. You watch with delight how, whistling merrily, they fly from spruce to spruce, swaying on cones, flocks of red-breasted crossbills. ( I. Sokolov - Mikitov)

Determine the style, genre and purpose of each text.

Specify the main style features of each text.

What linguistic means are used in the texts about winter?

Exercise 10. Create your own freehand winter landscape sketch using at least ten (10) definitions selected from the words below. What function do they perform in the text? Whose text is the most successful and why?

White, first, fresh, withered, cool, frosty, unkind, snow-white, angry, harsh, bright, chilly, wonderful, clear, invigorating, prickly, hot, angry, creaky, crisp, blue, silvery, thoughtful, silent, gloomy, gloomy, huge, huge, predatory, hungry, fast, icy, frozen, warm, sparkling, clean.

Exercise 11. Compose a syncwine for the micro-theme "Tropes as figurative and expressive means of the Russian language":

1 option- the keyword "Incarnation";

Option 2- the keyword "Hyperbole";

3 option- the keyword "Litota";

4 option- keyword "allegory".

Exercise 12. Read the text. Divide the text into semantic parts. Title it.

The steppe, shackled by moonlight, was waiting for the morning. There was that pre-dawn silence, which has no name. And only a very sensitive ear, accustomed to this silence, would have heard the continuous rustle that had been coming from the steppe all night. Once something rang...

The first whitish ray of dawn broke through a distant cloud, the moon immediately faded, and the earth darkened. And then suddenly a caravan appeared. Camels walked up to their chests in the lush meadow grass, mixed with young reeds, one after another. To the right and left, herds of horses moved in a heavy mass that crushed the meadow, dived into the grass, and horsemen again emerged from it. From time to time the chain of camels was interrupted, and, connected to each other by a long woolen rope, high two-wheeled carts rolled in the grass. Then camels came again...

A distant cloud melted, and the sun suddenly rushed all at once into the steppe. Like a scattering of precious stones, it sparkled in all directions to the very horizon. It was the second half of summer, and the time had already passed when the steppe looked like a bride in a wedding dress. Only the emerald green of the reeds remained, yellow-red islands of overripe thorny flowers, and among the overgrowth of belated sorrel, the scarlet eyes of the stone berry burned. The steep sides of well-fed, fattened horses over the summer gleamed the steppe.

And as soon as the sun broke out, a deaf and powerful clatter, snoring, neighing, the dreary roar of camels, the creak of high wooden wheels, human voices immediately became clearly audible. Noisily, quails and blind owls fluttered up from under the bushes, taken by surprise by the approaching avalanche. It was as if the light instantly dissolved the silence and brought it all to life...

At first glance, it was clear that this was not just a seasonal migration of one of the countless auls scattered in the endless Kazakh steppe. As usual, the young horsemen on both sides of the caravan did not rush about, did not laugh with the girls. They rode in silence, keeping close to the camels. And the women on camels, wrapped in white kerchiefs - kimesheks, were also silent. Even small children did not cry and only goggled round black eyes from saddlebags - korzhuns on both sides of the camel's humps.

(I. Esenberlin. Nomads.)

Write out unfamiliar words from the text, determine their meaning in the dictionary.

What art style does the text belong to? Justify your answer.

Determine the type of speech. Justify your answer.

What season is represented in the text?

Highlight the key words and phrases in the text that are necessary to convey the main content.

Write out the paths from the text, determine their type. For what purpose does the author use these figurative and expressive means in the text?

Reproduce the text in your own words. Define the style of your text. Has the functional and stylistic affiliation of the text been preserved?

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