style dominants. The main features of each style (dominants)

When was the science of stylistics formed?

2. What was the prerequisite for the formation of stylistics as a science?.
The style belongs to ancient rhetoric, but it is relatively young.
Recorded in the 20th century.
Poetics and rhetoric stood at the origins of stylistics.
Rhetoric - the study of the verbal expression of thought provided for the selection of words, their combinations and the study of figures of speech
Significant role of the works of Lomonosov. These works laid the foundations of stylistics as the doctrine of the expressive means of language.
The theory of 3 calms of Lomonosov caused controversy, on the basis of this theory, 2 directions arose about the study of languages ​​(the innovator Karamzin, the archaist Chemist)
High calm - high, solemn, stately. Genres: ode, heroic poems, tragedies, oratory.
Medium calm - elegies, dramas, satires, eclogues, friendly compositions.

Object and subject of style

The subject of stylistics - the subject of stylistics is the expressive possibilities and means of different levels of the language system, their stylistic meanings and coloring, as well as the pattern. Usage Yaz in different areas and communication situations
Object of stylistics - The object of study of stylistics is the units of the language system of all levels in their totality (sounds, words, their forms, phrases, sentences), i.e. the language is studied “along the entire section of its structure at once” (G.O. Vinokur). Low calm - comedies, letters, songs, fables.

4. Definition of style.
Stylistics is a branch of linguistics that has the main subject of style in all linguistic meanings of this term, as an individual manner of performing speech acts.
Stylistics explores the evolution of styles, the language of art. Lit. In its development, universal techniques
Stylistic items yavl. The study of expressive means of language. Figures of speech and tropes that are not associated with any particular style
Stylistics yavl. The connecting discipline between linguistics and literary criticism
In contrast to the sciences that have units, the style of units does not have and carriers of meanings are phonetic, lexical, etc. units
The main task of stylistics is the study and description of functional styles. A certain style norm, a description of the stylistic properties and features of language units, i.e. stylistic coloring

6. Functional style of speech.
Functional style is a historically developed and socially conscious variety 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 internal structure of the style is determined by the main style-forming factor - this is the circumstance that affects the principles of organization in one or another functional variety, which affects the actualization of certain categories of vocabulary grammatical categories in this functional variety.

7. For the allocation of functional styles of speech, there are the following reasons:

Sphere of human activity ( the science, right, politics, art, life);

The specific role of the addressee of the text (student, institution, reader of newspapers or magazines, adult, child, etc.);

style goal ( education, establishment of legal relations, impact, etc.);

Preferential use of a certain type of speech (narration, description, reasoning);

Preferential use of one or another form of speech (written, oral);

Type of speech ( monologue, dialog, polylogue);

Type of communication (public or private)

Kit genres(for scientific style - essay, textbook etc., for official business - law, reference etc.);

Characteristic features of the style.

Functional style substyles.

Speech styles have varieties, otherwise these styles are called sub-styles: popular science, religious, technical.

The main features of each style (dominant).

The main features of the scientific style: 1) the main form of speech is written, 2) the main goal is the communication of objective information.

Main features of the official business style: 1) high terminology, exists mainly in writing.

The main features of the journalistic style: 1) use in newspapers, television shows, socio-political magazines, documentaries, 2) the main function is communication and impact, 2) this style is intended for a mass audience. A mass audience is a combination of people of different professions and cultures , weakly interacting with each other.

The main features of the speech style are: 1) communication in its original form, 2) use in a wide range of informal, non-official relations, 3) use in all spheres of life.

10. Bookish speech styles There are 4 book styles: scientific, official business, journalistic, artistic.

Conversational style
Purpose of speech: Direct everyday communication
Speech setting: Sphere of domestic relationships, informal setting
Speech genres: Friendly conversation, private conversation, private letters
Language means: Colloquial and colloquial vocabulary
Style features of speech: Emotionality, figurativeness, concreteness, simplicity.

book styles

SCIENTIFIC STYLE
Purpose of speech: Communication of scientific information, explanation of facts
Speech setting: Formal setting
Speech genres: Scientific article, report, educational literature, dissertation
Language Tools: Terminology and Professionalisms
Style features of speech: Severity, logic, objectivity, accuracy, abstraction and generalization.

FORMAL BUSINESS STYLE
Purpose of speech: Message, information
Speech environment: Sphere of legislation, office work, administrative and legal
Speech genres: Laws, orders, decrees, resolutions, protocols, certificates, instructions, etc.
Language means: Official business vocabulary, standardized turns of speech
Style features of speech: Accuracy that does not allow for a different interpretation

JOURNALISTIC STYLE
The purpose of the speech: The function of influence through the media
Speech environment: Speeches in newspapers, magazines, on radio, television, at rallies and meetings
Speech genres: Article, essay, reportage, feuilleton, interview, oratory
Language means: Socio-political vocabulary
Style features of speech: Logic and at the same time figurativeness, emotionality, appraisal, appeal.

ART STYLE
Purpose of speech: The language of fiction
Speech environment: Direct impact on the reader, his feelings, emotions
Speech genres: Epic, lyrical, dramatic
Language means: Using all the wealth of vocabulary
Style features of speech: Imagery, emotionality, the ability to use different styles.

11. Oral and written speech Oral speech- this is a sounding speech, it uses a system of phonetic and prosodic means of expression; it is created in the process of speaking; it is characterized by verbal improvisation and some linguistic features (freedom in the choice of vocabulary, use simple sentences, the use of incentive, interrogative, exclamatory sentences of various kinds, repetitions, incomplete expression of thought). Oral speech implies the presence of an interlocutor. The speaker and the listener not only hear, but also see each other. Therefore, oral speech often depends on how it is perceived. The reaction of approval or disapproval, the replicas of listeners, their smiles, laughter - all this can affect the nature of speech, change it depending on this reaction. The speaking person creates, creates his speech at once. He simultaneously works on content and form. Oral speech is perceived by ear. To reproduce it again, special technical means. Therefore, oral speech should be constructed and organized in such a way that its content is immediately understood and easily assimilated by listeners. The oral form of the literary language is presented in two of its varieties: colloquial speech and codified speech.

Colloquial speech serves such a language sphere as communication, which is characterized by ease of communication; informal relationship between talking people; unprepared speech; direct participation of speakers in the act of communication; widespread use of non-verbal means of communication (gestures, facial expressions, etc.). codified speech it is used mainly in official areas of communication (symposiums, congresses, conferences, meetings, meetings). Most often, it is prepared in advance (delivery with a lecture, report, message, information, report). It is characterized by moderate use of non-verbal means of communication.

Written speech is speech, graphically fixed. It can be thought about and corrected in advance. It is characterized by some linguistic features (the predominance of book vocabulary, the presence of complex prepositions, passive constructions, strict adherence to language norms, the absence of extralinguistic elements, etc.). Usually addressed to the absent. The one who writes does not see his reader, but can only mentally imagine him. Written speech is not affected by the reaction of those who read it. Written language is designed for visual perception. While reading, there is always the opportunity to re-read an incomprehensible place several times, make extracts, clarify the meaning of words, check the correct understanding of terms in dictionaries.

12. Oral public speech A kind of oral form of the literary language used in all sorts of public speeches on socially significant topics. Together with colloquial speech constitutes the oral form of the literary language, which is realized in two varieties - colloquial and public - and is opposed to its written form. Some researchers call the oral form of the literary language its oral-colloquial variety. The distinction between colloquial and public speech is based on differences in the communicative function, in the topic and situation of speech. To U. p. r. the speaker resorts to the implementation of primarily the functions of communication and influence in the presence of an intellectualized topic and in a situation of public communication in the industrial and socio-cultural spheres.

13. How were speech styles formed? The concept of style (or syllable) as a special quality of speech originated in ancient poetics and rhetoric (Greek stylos - a stick pointed at one end, which was used to write on wax tablets; the other end of the stick had the shape of a spatula - they leveled the wax, erasing what was written). The ancients said: “Turn the stylus!”, which literally meant ‘erase what is written,’ and figuratively, work on the syllable, think over

written". With the development of the science of language, the ideas of scientists about what style is have changed. Contradictory opinions on this issue are expressed by modern scientists. However, the common thing is the recognition of the functional nature of styles, their connection with a certain area of ​​speech communication and types of human activity, understanding of style as a historically established and socially conscious set of methods of using, selecting and combining language units.

1. Speech style - main function - communication.

2. Official business style of speech.

3. Scientific style of speech. (17-18 century)

4. Artistic style of speech (11th century)

5.Publicistic (18th century)

SCIENTIFIC SPEECH STYLE:
14.Shaping.15. Characteristic features.16. Features of the development of scientific speech in Russia.

The rise of the scientific style is associated with the diversity of the spheres of human activity, at first the scientific style is close to the artistic one, later the scientific terminology was replenished with Latin, which became an international scientific language. In Russia, scientific. the style took shape in the 18th century, when the authors of scientific books began to create Russian scientific terminology. In the 2nd half of the 18th century, thanks to Lomonosov, a scientific. terminology. He replaced foreign terms with domestic ones, in other cases introduced well-known Russian expressions to denote scientific concepts, gave foreign terms forms close to the norms of Russian grammar. The scientific style finally took shape in the 19th century.

The form of speech is written, the main goal is to communicate objective information. The content side makes its own demands on the form of existence of scientific speech. Aboriginal the form the existence of scientific speech written, and this is no coincidence. Firstly, the written form fixes information for a long time (namely, this is what science requires, reflecting the stable connections of the world). Secondly, it is more convenient and reliable for detecting the slightest informative inaccuracies and logical violations (which are irrelevant in everyday communication, but in scientific communication can lead to the most serious distortions of the truth). Thirdly, the written form is economical, as it gives the addressee the opportunity to set his own pace of perception. So, for example, a scientific report that takes 40 minutes orally, a well-prepared addressee in this field can be perceived in writing in 5 minutes (reading "diagonally"). Finally, fourthly, the written form allows you to access information repeatedly and at any time, which is also very important in scientific work. Of course, and oral form is also often used in scientific communication, but this form is secondary in scientific communication: a scientific work is often first written, working out an adequate form of transferring scientific information, and then in one form or another (in a report, lecture, speech) is reproduced in oral speech. The primacy of the written form leaves a noticeable imprint on the structure of scientific speech. In Russia, the scientific language and style began to take shape in the first decades of the 18th century, when the authors of scientific books and translators began to create Russian scientific terminology. In the second half of this century, thanks to the work of M.V. Lomonosov and his students, the formation of the scientific style took a step forward, but it finally took shape in the second half of the 19th century, along with the scientific activities of the greatest scientists of that time.

The modern Russian literary language is heterogeneous in composition. The means existing in it allow serving all spheres of human activity. In the system of the modern Russian literary language, five functional styles (FS) are distinguished, which are peculiar subsystems, the functioning of which is determined by the goals and conditions of communication in any sphere of human activity. Each functional style has a certain set of stylistic means at different levels, the use of which is characteristic of it. Currently, most researchers distinguish scientific, official business, journalistic, artistic styles, as well as colloquial speech as independent functional styles. Within functional styles, on the basis of certain features of functioning and selection of language tools, corresponding substyles can be distinguished. In addition, there are no rigid boundaries between the FS themselves: a number of texts, in accordance with the conditions and goals of their creation, can combine features of different styles. However, the presence of the most common characteristic features allows us to speak about the five corresponding functional styles of the modern Russian language.

Scientific style. The main scope of the scientific style is science, technology, and education. As style dominant stands for conceptual accuracy, the observance of which is necessary for accurate and adequate fixation of the results of cognition of the world, transmission scientific knowledge. Most scientific style texts exist in written form.

Formal business style. The scope of the official business style is administrative and legal relations in society, their organization and regulation. The extreme standardization of speech and the dominance of the written form of speech are due to the stylistic dominant, which can be designated as "accuracy that does not allow for other interpretations." The need to comply with the accuracy of the wording is primarily due to the requirement for an unambiguous interpretation of texts that are of a legislative nature. In general, the texts of the official business style have a tinge of imperativeness and prescriptive and obligatory meaning. As a manifestation of the dominant style, the language of official business texts is characterized by lexical monotony; the almost complete absence of pronominal substitutions, which is a consequence of the need to fully name the object or action each time it is mentioned in the text; nominal character of speech; syntactic cumbersomeness, ensuring the accuracy and unambiguity of formulations. A distinctive feature of the official business style is the presence in it of numerous speech standards - clichés.

Journalistic style. Journalistic style texts function in the socio-political sphere, mainly in the media, as well as in public speaking. The main functions of journalistic style texts are the transmission of information to the audience, as well as the impact on it in order to convince it of the correctness of a particular point of view. Publicistic style texts are aimed at a mass audience, while in most cases the nature of the audience and its quantitative characteristics can only be assumed, predicted with a certain degree of certainty due to the dispersal of the mass (audience, Internet users). The dominant style is determined by social appraisal. One of the main characteristic features of the journalistic style is the tendency to combine expression and standard in texts. Standard speech turns, generally accepted formulations facilitate the process of creating a text by the author and the perception of information by the audience. In turn, the use of such means of speech expressiveness as evaluative vocabulary, lexico-phraseological units, figurative expressions, expressively colored neologisms, colloquial, colloquial vocabulary, jargon, etc., make it possible to make the impact on the addressee more effective, to focus on the most significant issues.

Artistic speech. The specificity of the artistic style is due to the fact that the scope of its use is fiction, that is, an art form. The main function of artistic style texts is the impact through the individual-figurative modeling of the world. The main form of speech is written, but with the expectation of sound, especially in the poetic variety. The artistic style is the only FS in which the language means of other styles are actively used. However, in the texts of fiction they act in a specific - aesthetic function, functioning as a means of figurative comprehension of reality. In fact, the texts of fiction model, create a new reality, for the image of which the entire arsenal of language means is used. characteristic feature artistic style is not only the regular use of the means of other functional styles: for texts of fiction, the norm is the use of non-literary (colloquial, dialect, etc.) forms, because they, along with the means of the literary language, serve to create certain artistic images. The dominant feature of the artistic style is the aesthetic significance and figurativeness of speech. The manifestation of the dominant is the lexical richness of artistic speech, the use of various tropes and figures of speech in order to create vivid imagery. The artistic style is characterized by the exceptional originality of the author's texts, reflecting the worldview of the writer, his idea of ​​beauty, expressed in the organization of the literary text.

Colloquial speech. The scope of the use of colloquial speech is everyday communication. Unlike other FS, colloquial speech in the overwhelming majority of cases is presented in oral form (exceptions are diaries, everyday letters, communication in Internet chats (has its own specifics)). The dominant of colloquial speech is the reduction to a minimum (and even to the complete absence) of concern for the form of expression. Colloquial speech is used in a situation of informal communication of native speakers of the literary language. In most cases, the participants in communication are in direct contact and have the opportunity not only to hear, but also to see the partner. Personification of communication (its personal nature, often - the acquaintance of participants, the presence of general knowledge on certain issues), the possibility of immediate re-questioning, clarification in case of misunderstanding, as well as taking into account factors external to speech (the ability to accompany it with any actions, express an attitude with using intonation, facial expressions, gestures) allow the participants of communication not to focus purposefully on the selection of language means. Due to the conditions and personal character communication, colloquial speech is saturated with emotionally expressive language elements.

N. A. Nabokova

STYLE DOMINANTS OF THE ART WORLD

Virginia Woolf

The work is presented by the Department of Theory and Practice of Translation, Stavropol State University.

Scientific adviser - Doctor of Philology, Professor S. V. Serebryakova

The article reveals the stylistic dominants of the modernist text on the material of the novels by W. Wolfe, whose artistic world is formed through a complex interaction of various stylistic elements. Being specific components of the modernist discourse, they receive a special refraction in the literary works of the writer.

The article deals with stylistic dominants of a modernistic text having regard for V. Woolf’s novels. Her artistic nature is formed by means of difficult interaction of various stylistic elements. Being specific components of the modernistic discourse, they obtain a peculiar aspect in the writer’s works.

Any artistic text is characterized by certain features of its compositional and stylistic structure, while the specifics of the organization and interaction of visual means of the text, as it were, forms its “face”, revealing a leading, dominant feature1. “A work of art is always the result of a complex struggle of various formative elements, always

his kind of compromise. These elements do not simply coexist and do not simply "correspond" to each other. Depending on the general nature of the style, one or another element has the significance of an organizing dominant, dominating the rest and subordinating them to itself. R. O. Yakobson saw in the dominant the focusing component of a work of art: “it governs, determines and transforms the rest of the compo-

nets. The dominant ensures the integrity of the structure”3. Often expressing the most essential aspects of the work, the dominants determine the development of the text, pointing to the source of its "self-movement" and deployment. “The dominant is that component of the work that sets in motion and determines the relationship of all other components”4. The importance of these provisions cannot be overestimated.

The purpose of this article is to identify the stylistic dominants of the artistic world of the famous English writer Virginia Woolf, mainly relying on the novel "Mrs. Dalloway". We consider it important to dwell in more detail on the very concept of "style" and, as a result, on the concept of "style dominant". For the modern understanding of literary and artistic style, the following is essential: style is an expression of deep originality; style has aesthetic perfection; it is a content form; it is a property of the entire artistic form of a work, and not only of its speech side, which has for literary style of paramount importance.

In W. Wolfe's novel "Mrs. Dalloway" the main stylistic principle, the pattern of style is opposition, struggle. However, this opposition is not of characters, although this takes place, as in any other work, but the struggle of various states of the soul of one person. Moreover, these states, relating to specific characters, are explicated both by syntactic and lexical means, such as expressive word order, numerous repetitions, interjections, fragmentation, ellipses, non-normative punctuation, etc.

Since style is not an element, but a property of an artistic form, it is not localized, but, as it were, poured into the entire structure of the form. Therefore, the organizing principle of style is found practically in

any fragment of the text, each text "dot" bears the imprint of the whole5. The integrity of style is most clearly manifested in the system of stylistic dominants - the qualitative characteristics of style, in which artistic originality is expressed. Style dominants, according to

A. N. Sokolov, include such concepts as subjectivity / objectivity, image / expression, type of artistic convention, monumentality / intimacy, etc. 6 Analysis of the work according to these parameters makes it possible to identify from one to three dominants. The artistic world of a work can be built in different ways. First of all, this concerns the image of dynamics and statics, external and internal, which is descriptive, which is characterized by a detailed reproduction of the external world - the appearance of heroes, landscapes, city views, interiors, things, etc. 7 Virginia Woolf, on the contrary, draws mainly attention to changes in the inner world of the characters, which means that descriptiveness cannot be qualified as the stylistic dominant of her works.

A. B. Yesin calls the author’s concentration on the reproduction of external (and partly internal) dynamics plot8, which is usually expressed in a large number of twists and turns, in the tension of the action, in its predominance over static moments and, most importantly, in the fact that the characters of the characters and the author's position are manifested primarily through the plot. According to our observations, W. Wolfe's works of art have a minimal, as far as it is generally possible in a literary work, traditional plot. Thus, the entire "external" plot of the novel "Mrs. Dalloway" consists in one day of the main character's life, while the "internal" plot is saturated with both the changes of some mental states by others, and the transitions of the same state from character to character, t i.e. he is dynamic in the development of inner experiences

meanings, feelings, emotions, etc. Therefore, it can be argued that one of the style dominants of W. Wolfe is psychologism, which is defined as “a fairly complete, detailed and deep depiction of the feelings, thoughts and experiences of a fictional person (literary character) with the help of specific means of fiction”9. After

A. B. Esin, we note the following “techniques and methods of psychological representation10, supplying them with illustrations from the works of V. Wolf. Thus, a third-person narrative, which, being “neutral”, is primarily focused on the author's presentation of the hero's thoughts and feelings. This type of narration is widely used in the works

B. Wolf, which allows her to introduce internal monologues, public confessions, excerpts from diaries, letters, dreams, visions, etc., explicating the inner world of the heroine in depth and detail.

First-person narration, or "Isch-Ericaeum", has two limitations: the impossibility of equally fully showing the inner world of many characters and the monotony of the psychological image. According to our observations, this type of narration, often used by V. Wolf, allows you to fully focus on the inner world of the characters, is endowed with great power of emotional impact and artistic persuasiveness: who knows a person better than he himself!

The internal monologue is used primarily to convey the thoughts of the characters. Feelings, emotions, moods are conveyed by V. Wolfe in the internal monologue mainly with the help of the features of the construction of internal speech. But, along with this, she introduces into the internal monologue of the characters their thoughts about their emotional states. One of the varieties of internal monologue is the "stream of consciousness".

Thus, the appeal to the artistic world of V. Wolf shows that

everything external, material has no meaning for her, since by her works she makes it clear that the external event related to her, in fact, is internal. “Either it doesn’t reach me (like a noise that I don’t hear), then it simply doesn’t exist ... The event that concerns me simply does not have time to be external, it already becomes internal, me”11. The same thing happens in the minds of her characters. V. Wolfe practically refuses the role of a narrator: the narration is either in the first person, or it turns into an internal monologue. Thus, the main stylistic device of her works is the “stream of consciousness”.

Depending on the type of artistic conventionality, two opposite stylistic dominants can be distinguished: lifelikeness and fantasy12. Novels and short stories by W. Wolfe are lifelike, she shows life as it is, life after the war, the world after the war, but through the prism of human consciousness.

In the field of artistic speech, three pairs of stylistic dominants can be distinguished: verse and prose, nominativity and rhetoric, monologism and heteroglossia. Verse and prose as stylistic qualities characterize the degree of rhythmic orderliness of artistic speech, as well as its tempo organization. Another pair of typological characteristics of style is associated with the measure of the use of language figurativeness and expressiveness, tropes and figures (comparisons, metaphors, gradations, repetitions, etc.), as well as passive vocabulary and vocabulary limited scope usage (archaisms, neologisms, barbarisms, etc.). At first glance, it may seem that the works of V. Wolfe have a rhetorical dominant, primarily because of the conspicuous non-standard, unnatural syntax. But we assume that her works are also characterized by nominativity, i.e., the exact designation of the details of the depicted world, albeit through the prism of the hero’s worldview.

ev. Thus, we could designate W. Wolfe's style as nominative-rhetorical.

From the point of view of mastering speech diversity in a work, one can single out such dominants as monologue and heteroglossia. Monologism implies a single speech manner for all characters, which, as a rule, coincides with the speech manner of the narrator. In case of heteroglossia, the object of the image becomes the real speech world13. The second type in the works of M. M. Bakhtin was called polyphony14. An example of a polyphonically organized text is the novel

W. Wolfe "Mrs. Dalloway", which depicts the parallel and intersecting movement of several rows of thoughts. Such polyphony is based on the technique of counterpoint and the technique of literary leitmotif. The principle of a literary leitmotif is largely based on the effect of the so-called "semantic resonance", when the sounded word acquires additional meanings and is enriched with new meanings. In the case of V. Wolf, the speech manners of the characters and the narrator interact, "penetrate" each other.

The nature of an artistic composition can also acquire the status of a stylistic

Taking into account the above provisions, we believe that the style

V. Wolf does not fit in all respects into any of the generally accepted frameworks. The novel we are considering is inherently simple, but has clear and significant signs of a complex one.

Thus, the main stylistic dominants of the works of Virgi-

dominants. In its most general form, there are two types of it: simple and complex composition. In the area of ​​narration, W. Wolfe uses a single narrative type - the "stream of consciousness", although the narrators themselves are constantly changing, in the area of ​​the plot - a direct chronological sequence, intersected by numerous flashbacks, allusions and reminiscences. Further, according to A. B. Esin, “in the field of the chronotope - the unity of place and time, etc. With a complex composition, in the very construction of a work, in the order of combinations of its parts and elements, a special artistic meaning is embodied and an aesthetic effect is achieved”15. In the novel "Mrs. Dalloway" there is no division either into parts, or into chapters, or into episodes, but at the same time, two chronotopes coexist in it - a larger one and a smaller one, complementary and interchangeable with each other. The peculiarity of this novel is that the syntactically larger chronotope in the semantic space of the text is a smaller chronotope in the temporal aspect. The larger chronotope is one day of Mrs. Dalloway, the smaller one is her life for 35 years (her memories, feelings, emotions, thoughts, fears, regrets, etc.). Summarizing this thesis is presented in the following table:

Wulff's ideas are psychologism and heteroglossia in the form of polyphony. "Internal" artistic details prevail over "external", and the latter are psychologized in one way or another, either become emotional impressions of the characters, or reflect changes in the inner world, state of mind (in particular, in the novel "Mrs. Dalloway" - details

Chronotope / Aspect Syntactic Semantic

Big One Day in the Life of Mrs Dalloway The Whole Life of Mrs Dalloway

The whole life of Mrs Dalloway A day in the life of Mrs Dalloway

portrait, the suicide of Septimus as a deliverance from the fear of death in the life of Clarissa, etc.). In the composition of the novels, a significant place is occupied by the speech of the characters, which is almost impossible to divide into external and internal, which is a hallmark of the "flow of

knowledge". The principle of polyphony is also realized in the nature of the narration: the narrator's word is just as active and intense as the hero's word. Attention is minimally focused on the form of the work - composition and maximally - on the content.

NOTES

1 Novikov L. A. Artistic text and its analysis. 2nd ed., rev. M., 2003. S. 30.

2 Eikhenbaum B. About poetry. L., 1969. S. 332.

3 Yakobson R. O. Dominant // Reader in Theoretical Literary Studies: In 5th issue. / Ed. prepared I. Chernov. Tartu, 1976. Issue. 1. S. 332.

4 Mukarzhovsky J. Literary language and poetic language // Prague Linguistic Circle: Sat. articles / Comp. ed. and foreword. N. A. Kondrashova. M., 1967. S. 411.

5 Esin A. B. Style // Introduction to literary criticism / Ed. L. V. Esina. M., 2000. S. 353.

6 Sokolov A. N. Theory of style. M., 1968. S. 94-100.

7 Yesin A. B. Decree. op. S. 354.

9 Esin A. B. Psychologism of Russian classical literature. 2nd ed., revised. M., 2003. S. 18.

10 Esin A. B. Decree. op. pp. 31-45.

11 Wolfe W. Jacob's Room: A Novel / Per. from English. M. Karp. SPb., 2004. S. 217-218.

12 Esin A. B. Style ... S. 355.

13 Khalizev V. E. Speech as a subject of artistic representation // Literary trends and styles. M., 1976. S. 128.

14 Bakhtin M. M. The problem of Dostoevsky's poetics. 3rd ed. M., 1972. S. 5-77, 309-349.

15 Esin A. B. Principles and methods of analysis of a literary work. M., 1998. S. 177-190.

In general terms, the main linguistic features of the artistic style of speech include the following:

1. Heterogeneity of the lexical composition: a combination of book vocabulary with colloquial, vernacular, dialect, etc.

Let's turn to examples.

“The feather grass has matured. The steppe was clad in swaying silver for many versts. The wind accepted it resiliently, swooping in, roughening it, bumping it, driving gray-opal waves first to the south, then to the west. Where a flowing air stream ran, the feather grass inclined prayerfully, and a blackening path lay for a long time on its gray ridge.

“Different herbs have blossomed. On the crests of the nikla is a joyless, burnt-out wormwood. The nights faded quickly. At night, in the charred-black sky, innumerable stars shone; month - the Cossack sun, darkening with a damaged sidewall, shone sparingly, white; the spacious Milky Way intertwined with other stellar paths. The tart air was thick, the wind was dry and wormwood; the earth, saturated with the same bitterness of the all-powerful wormwood, yearned for coolness.

(M. A. Sholokhov)

2. The use of all layers of Russian vocabulary in order to implement the aesthetic function.

“Daria hesitated for a minute and refused:

No, no, I'm alone. There I am alone.

Where "there" - she did not even know close, and, going out of the gate, went to the Angara.

(V. Rasputin)

3. The activity of polysemantic words of all stylistic varieties of speech.

“The river boils all in a lace of white foam.

On the velvet of the meadows poppies are reddening.

Frost was born at dawn.

(M. Prishvin).

4. Combinatorial increments of meaning.

Words in an artistic context receive a new semantic and emotional content, which embodies the figurative thought of the author.

“I dreamed of catching the departing shadows,

The fading shadows of the fading day.

I went up the tower. And the steps trembled.

And the steps under my foot trembled.

(K. Balmont)

5. Greater preference for the use of specific vocabulary and less - abstract.

“Sergey pushed the heavy door. The steps of the porch barely audible sobbed under his foot. Two more steps and he is already in the garden.

“The cool evening air was filled with the intoxicating aroma of flowering acacia. Somewhere in the branches, a nightingale chimed and subtly trilled.

(M. A. Sholokhov)

6. A minimum of generic concepts.

“Another essential piece of advice for a prose writer. More specificity. The imagery is the more expressive, the more precisely, more specifically the object is named.

“You have: “Horses chew grain. Peasants prepare “morning food”, “birds rustled”… In the artist’s poetic prose, which requires visible clarity, there should be no generic concepts, if this is not dictated by the very semantic task of the content… Oats are better than grain. Rooks are more appropriate than birds."

(Konstantin Fedin)

7. The widespread use of folk poetic words, emotional and expressive vocabulary, synonyms, antonyms.

“The rosehip, probably, has still made its way along the trunk to the young aspen since spring, and now, when the time has come for the aspen to celebrate its name day, it all flared up with red fragrant wild roses.”

(M. Prishvin).

“New time” was located in Ertelev Lane. I said "fit". This is not the right word. reigned, ruled."

(G. Ivanov)

8. Verbal speech.

The writer calls each movement (physical and / or mental) and change of state in stages. Forcing verbs activates reader tension.

“Grigory went down to the Don, carefully climbed over the fence of the Astakhov base, went to the shuttered window. He heard only frequent heartbeats... He tapped softly on the frame's binding... Aksinya went silently to the window and peered. He saw how she pressed her hands to her chest and heard her indistinct moan escape her lips. Grigory motioned for her to open the window and took off his rifle. Aksinya opened the doors. He stood on the edge bare hands Aksinya grabbed his neck. They trembled and beat on his shoulders so, these native hands, that their trembling was transmitted to Grigory.

(M.A. Sholokhov "Quiet Flows the Don")

The dominants of the artistic style are the imagery and aesthetic significance of each of its elements (down to sounds). Hence the desire for freshness of the image, unhackneyed expressions, a large number of tropes, special artistic (corresponding to reality) accuracy, the use of special, characteristic only for this style of expressive means of speech - rhythm, rhyme, even in prose a special harmonic organization of speech.

The artistic style of speech is distinguished by figurativeness, the wide use of figurative and expressive means of the language. In addition to its typical linguistic means, it uses the means of all other styles, especially colloquial. In the language of fiction, vernacular and dialectisms, words of a high, poetic style, jargon, rude words, professionally business turns of speech, journalism can be used. Means in the artistic style of speech are subject to its main function - aesthetic.

As I. S. Alekseeva notes, “if the colloquial style of speech performs primarily the function of communication, (communicative), scientific and official-business function of communication (informative), then the artistic style of speech is intended to create artistic, poetic images, emotional and aesthetic impact. All linguistic means included in a work of art change their primary function, obey the tasks of a given artistic style.

In literature, language occupies a special position because it is building material, that matter perceived by ear or sight, without which a work cannot be created.

The artist of the word - the poet, the writer - finds, in the words of L. Tolstoy, "the only necessary placement of the only necessary words" in order to correctly, accurately, figuratively express an idea, convey the plot, character, make the reader empathize with the heroes of the work, enter the world created by the author.

All this is available only to the language of fiction, so it has always been considered the pinnacle of the literary language. The best in language, its strongest possibilities and the rarest beauty - in the works of fiction, and all this is achieved by the artistic means of the language. The means of artistic expression are varied and numerous. First of all, these are trails.

Tropes - a turn of speech in which a word or expression is used in a figurative sense in order to achieve greater artistic expressiveness. The path is based on a comparison of two concepts that seem to our consciousness to be close in some way.

one). An epithet (Greek epitheton, Latin appositum) is a defining word, mainly when it adds new qualities to the meaning of the word being defined (epitheton ornans is a decorating epithet). Wed Pushkin: "ruddy dawn"; Theorists pay special attention to the epithet with a figurative meaning (cf. Pushkin: “my harsh days”) and the epithet with the opposite meaning - the so-called. an oxymoron (cf. Nekrasov: "wretched luxury").

2). Comparison (Latin comparatio) - revealing the meaning of a word by comparing it with another on some common basis (tertium comparationis). Wed Pushkin: "Youth is faster than a bird." The disclosure of the meaning of a word by determining its logical content is called interpretation and refers to figures.

3). Periphrasis (Greek periphrasis, Latin circumlocutio) is a method of presentation that describes a simple subject through complex turns. Wed Pushkin has a parodic paraphrase: "The young pet of Thalia and Melpomene, generously endowed by Apollo." One of the types of paraphrase is euphemism - a replacement by a descriptive turn of a word, for some reason recognized as obscene. Wed in Gogol: "get by with a handkerchief."

In contrast to the paths listed here, which are built on the enrichment of the unmodified main meaning of the word, the following paths are built on shifts in the main meaning of the word.

4). Metaphor (Latin translatio) - the use of a word in a figurative sense. The classic example given by Cicero is "the murmur of the sea". The confluence of many metaphors forms an allegory and a riddle.

5). Synecdoche (Latin intellectio) - the case when the whole thing is recognized by a small part or when a part is recognized by the whole. The classic example given by Quintilian is "stern" instead of "ship".

6). Metonymy (Latin denominatio) is the replacement of one name of an object by another, borrowed from related and close objects. Wed Lomonosov: "read Virgil".

7). Antonomasia (Latin pronominatio) -- replacement own name another, as if from the outside, a borrowed nickname. The classic example given by Quintilian is "destroyer of Carthage" instead of "Scipio".

eight). Metalepsis (Latin transumptio) - a replacement representing, as it were, a transition from one path to another. Wed in Lomonosov - "ten harvests have passed ...: here, through the harvest, of course, summer, after summer - a whole year."

Such are the paths built on the use of the word in a figurative sense; theorists also note the possibility of the simultaneous use of a word in a figurative and literal sense, the possibility of a confluence of contradictory metaphors. Finally, a number of tropes stand out in which it is not the basic meaning of the word that changes, but one or another shade of this meaning. These are:

nine). Hyperbole is an exaggeration brought to the point of "impossibility". Wed Lomonosov: "running, speedy wind and lightning."

ten). Litotes is an understatement expressing, through a negative turnover, the content of a positive turnover (“a lot” in the meaning of “many”).

eleven). Irony is the expression in words of the opposite meaning to their meaning. Wed Lomonosov's characterization of Catiline by Cicero: “Yes! He is a fearful and meek person ... ".

Expressive means of language include stylistic figures speech or just figures of speech: anaphora, antithesis, non-union, gradation, inversion, polyunion, parallelism, rhetorical question, rhetorical appeal, silence, ellipsis, epiphora. The means of artistic expression also include rhythm (poetry and prose), rhyme, and intonation.

The integrity of the style is most clearly manifested in the system of stylistic dominants, with the selection and analysis of which the consideration of style should begin.

The most common properties of various aspects of the artistic form can become stylistic dominants: in the field of the depicted world these are plot, descriptiveness and psychologism, fantasy and lifelikeness, in the field of artistic speech - monologism and heteroglossia, verse and prose, nominativity and rhetoric, in the field of composition - simple and complex types.

AT work of art usually stands out from one to three stylistic dominants, which constitute the aesthetic originality of the work.

Subordination to the dominant of all elements and techniques in the field of artistic form constitutes the actual principle of the stylistic organization of the work. So, for example, in Gogol's poem "Dead Souls" the stylistic dominant is a pronounced descriptiveness.

The task of comprehensively recreating the way of Russian life in its cultural and domestic plans is subject to the entire structure of the form. Thus, among the artistic details, the details of the portrait and, in particular, the material world predominate, while the atom is usually used details-details that affect the reader primarily by their mass. External details predominate, while internal ones are practically absent.

The nature of imagery is lifelike, which is important for creating general impression the accuracy of the description. Subject to descriptiveness as a stylistic dominant and area of ​​composition. Drastically, as far as possible in an epic work, the plot is weakened and, accordingly, the importance of extra-plot elements - author's digressions, inserted episodes and especially descriptions - increases.

In practice, the main plot in Gogol exists in order to constantly be distracted from it, it has no independent meaning, and the leading conflict (the contradiction between “dead”, stagnant and “alive”, developing) is realized outside the plot, at other levels of composition (primarily in contrasting pictures of reality and author's digressions).

In accordance with the principle of descriptiveness, the composition of the system of characters is also built. Firstly, there are extremely many of them in Gogol's poem, and secondly, they are essentially equal in rights and equally interesting to the author; the division into main, secondary and episodic can be carried out only formally (this feature of "Dead Souls" was discussed in detail above).

Among the compositional techniques, repetition and amplification, the injection of single-order details, impressions, characters, etc., are of particular importance, which also contributes to descriptiveness.

In the field of artistic speech, it should be noted, firstly, the nominativity, which is necessary for descriptiveness in order to create a complete and accurate idea of ​​\u200b\u200bobjects and phenomena, without being distracted by speech "beauties", and secondly, relatively slow, unhurried and measured tempo-rhythm, reinforcing the impression of thoroughness, meticulousness of the image-description.

An important property is also heteroglossia, in which different speech manners are absolutely opposed to each other, without penetrating each other; it also works for descriptiveness, creating also a speech image of various ways of life.

Another example is the organization of style in Dostoevsky's novels. The stylistic dominants in them are psychologism and heteroglossia in the form of polyphony. Subordinating to these dominants, all elements and sides of the form are artistically oriented.

Naturally, among artistic details, internal ones prevail over external ones, and the external details themselves are psychologized in one way or another - they either become an emotional impression of the hero (axe, blood, cross, etc.), or reflect changes in the inner world (portrait details).

There is practically no description as such. Basically, not details-details are used, but single details-symbols that can be psychologized to a large extent. The plot is undergoing an interesting transformation. It does not weaken, as might be expected; on the contrary, Dostoevsky's plot is always impetuous and tense, replete with ups and downs.

But in none of Dostoevsky's novels does the plot have a self-sufficient meaning, it works for heteroglossia and psychologism: acute, extreme situations that arise every now and then in the course of the plot are designed primarily to provoke the ideological and emotional reaction of the characters, to stimulate their ideological and speech activity. In the composition of novels, an unprecedentedly large place is occupied by the direct speech of the characters, both external and internal.

The principle of polyphony is also realized in the nature of the narration: the narrator's word is just as initiative and tense as the hero's word, and just as "open" to someone else's speech, an indicator of which can be, first of all, the active use of such a narrative form as improperly direct speech.

Thus, the dominant properties directly determine the laws by which the individual elements of the artistic form are formed into an aesthetic unity - style.

Esin A.B. Principles and methods of analysis of a literary work. - M., 1998