stylistic appropriateness;

contextual relevance;

situational relevance;

personal and psychological relevance.

Style appropriateness– the appropriateness of a word, phrase, construction, predetermined and regulated by the style of the language.

Each of the functional styles has its own specifics, its own laws of selection and use of linguistic material. The specificity of the style is predetermined by the so-called style-forming features. Unmotivated transfer of linguistic units characteristic of a certain style to other communication conditions is a violation stylistic appropriateness.

In a statement related to artistic style New ones opened before MtsyriNatural resources , inappropriate use of phrase Natural resources, belonging to the formal business style.

In an article from the newspaper “East Siberian News” we read: Today the second ice expedition on Lake Baikal took place. The conclusions are even sadder:absolutely Khan comes like a beast. In this case, the author violates stylistic appropriateness by using a colloquial expression absolutely Khan in a text written within a journalistic style.

A specific means that violates stylistic appropriateness are the words and expressions used by the speaker in order to give his speech significance and weight. A person who does not have a good command of the literary language, being in an unusual official situation or when changing situational communication conditions, uses the so-called bureaucracy– words and expressions characteristic of an official business style, but used in a different stylistic environment and not carrying a special stylistic load.

There is a lack of spare parts.

You have no reason to speak to me in such a tone.

I waited a long time for the bus, which is why I was late.

The appropriateness of speech presupposes the justified use of linguistic units belonging to a certain type of literary language. Therefore, you should be careful when using linguistic means belonging to a different style.

Contextual relevance

The appropriateness of using a particular linguistic unit is necessarily subject to such factors as context, i.e. speech environment.

Context is not a random set of words, it is an integral conglomerate consisting of linguistic means united by a common communicative task, and therefore presupposing the unity of the content plan and the expression plan. Therefore, each linguistic means in a certain context must be subject to the requirements that form its integrity.

The organizing principle in the formation of contextual relevance is the emotional and expressive stylistic coloring of 31 linguistic units. Emotionally expressive coloring is associated with the expression of evaluativeness: positive ( inspiration, valiant, destiny) or negative ( brainless, window dressing, skimmer).

In the case of convergence, mixing in the context of words of different stylistic colors, one can state a violation of communicative appropriateness, and therefore a violation of contextual appropriateness.

If your password is simple, you give almost anyone the opportunity to read your personal mail plusfreebie Internet access.

Stress will not defeat you if you face it head on.Get high from life! Enjoy life!

You think of me better than I really am, for I am a simple, ingenuousyap .

Authorities said they were tired of fightingnasty terrorists.

Situational relevance

The appropriateness of speech is revealed not only when choosing stylistically colored units - we can talk about appropriateness in the speech situation. Situational relevance is violated by the wish-remark uttered by the unlucky hero of the fairy tale, who was ordered to wish people more of everything than they have at the time of speech: “ To drag you, not to drag you" So he wishes them “ drag - do not drag» the coffin with the deceased, which they are now carrying, and at the same time they do not think that he is thereby violating the norms of society.

Thus, situational appropriateness regulates speech not only from a linguistic, but also a social point of view, thereby controlling the speech behavior of communicators.

A 5th grade student should not know what it is predicative sentence stem, so the task that the student trainee gives him in the Russian language lesson Find the predicative basis of the sentence, stuns the child, he gets lost while answering at the blackboard, is frightened that his answer does not meet the requirements set by the teacher (formulating this, of course, within the limits of his own understanding), the attention of the other students is scattered, and noise begins in the class. And all this happens as a result of the novice teacher’s violation of situational appropriateness.

A similar situation occurred at the New Year's party in kindergarten, in the younger group. A teacher dressed in a Santa Claus costume addresses three-year-old children: And now, children, together with me, let’s shout to my granddaughter Snegurochka. And where does she hang around??

Situational appropriateness is closely related to personal-psychological appropriateness.

During the lesson, the teacher, addressing the class, says: I asked you to shut up, but you didn’t respond to my remark properly, which not only violates the appropriateness in the given situation, but also insults those listening.

Personal-psychological relevance

The speaker must always consider how his speech will affect the listener. The ability to find the right words and intonation in a particular communication situation is the key to successful relationships between interlocutors.

Personal-psychological appropriateness is the appropriateness of the use of speech means by an individual in accordance with his sensitive, friendly and respectful attitude towards people. Examples of violations of personal-psychological appropriateness are given below.

You, grandma, should sit at home, watch your TV series, otherwise you wander back and forth, disturbing people’s work!

If you don’t take off these trinkets now, you won’t even stick your nose outside.

Ah, girl! You're so pretty, just a little stupid.

“When speaking with an interlocutor, speaking in front of an audience, we not only convey information, but also, wittingly or unwittingly, convey our attitude to reality, to the people around us. Therefore, it is important to take care of how our speech will affect the interlocutor - whether it will injure him with rudeness, or humiliate his dignity” [Golovin: 252].

Communicative qualities of speech - such properties of speech that help organize communication and make it effective.

The communicative qualities of speech include: appropriateness of speech, accuracy, clarity of speech, purity of speech, richness and expressiveness, correctness.

Relevance- this is one of the most important communicative qualities of speech, because very often the success of an entire statement is determined by its appropriateness or inappropriateness.

Appropriate speech is speech that corresponds to all components of the communicative situation.Relevance is a communicative quality that, more than other qualities of speech, is focused on the communication situation as a whole and, accordingly, more than others indicates the communicative competence of the addresser.

In this regard, appropriateness is a communicative quality that is transitional from ethical and communicative norms to speech norms, in relation to which appropriateness is distinguished in a broad and narrow sense.

Relevance in a broad sense reflects compliance with ethical and communicative norms in speech, its compliance with the basic parameters of the communication situation, therefore this type of manifestation of this quality is defined as situational appropriateness.

Relevance in the narrow sense involves the implementation of the named quality in the text, that is, an assessment of the appropriateness of using a particular speech device in a specific statement regarding the characteristics of this speech work.

Both types of speech appropriateness are determined primarily by ethical and communicative norms, and are manifested in speech in a linguistic form that corresponds to all types of norms.

Relevance is situationalrepresents an unconditional requirement of speech culture. Speech can only be effective when it is appropriate.

Situational appropriateness is required for everyone in any area of ​​communication and in any situation. The situational appropriateness/inappropriateness of speech is determined by all components of the communicative situation as a whole and by each one separately, since they are all closely interrelated, but the inconsistency of speech with just one parameter can invariably make the entire speech inappropriate. This is the most important feature of this quality of speech.

Textual appropriateness(appropriateness in the narrow sense) is associated with the choice of specific speech means within the framework of a communicative situation. Accordingly, textual relevance is, in fact, included in situational relevance as an integral part.

At the same time, textual appropriateness has its own characteristics associated with its speech nature and the fact that as a result of the action of these characteristics, this type of appropriateness is not absolutely obligatory for compliance in speech; it allows a greater or lesser degree of manifestation in speech, as well as conscious and justifiable violations of this quality. This is what makes it possible to isolate the appropriateness of using a particular speech device within the framework of a given text as a special type of manifestation of this quality of speech.

Relevance is a basic quality for speech culture, as it largely lays the foundation for its success. The difference between appropriateness and other communicative qualities of speech is that often the assessment of the appropriateness or inappropriateness of speech determines whether the speech itself will take place, since this quality of speech is laid down at the stage of predicting the speech activity itself in terms of how favorable this or that speech situation is for achieving these communication goals.

Thus, appropriateness is a tool for assessing speech in relation to the situation of communication and text, both from the point of view of ethical and communicative norms, and from the point of view of the justification of using certain speech and language components in it.

Accuracy as a sign of speech culture is determined by the ability to think clearly and clearly, knowledge of the subject of speech and the laws of the Russian language. Accuracy of speech is most often associated with the accuracy of word usage, the correct use of polysemantic words, synonyms, antonyms, and homonyms. When selecting lexical means, it is recommended to take into account the following factors:

■meaning of the word;

■its polysemy;

■compatibility with other words;

■emotionally expressive coloring;

■stylistic characteristics;

■scope of use.

Failure to comply with the basic criteria for selecting lexical means leads to errors in word usage. The most typical of them are: the use of words in a meaning that is unusual for them; polysemy not eliminated by the context, giving rise to ambiguity; pleonasms and tautology; paronym shift; errors in the stylistic assessment of words; errors related to word combinations, etc.

Accuracy of speech requires careful attention to homonyms, homophones, and paronyms. What are they?

Homonyms- words that are identical in spelling and pronunciation, but different in meaning. For example: outfit -"direction to work" and outfit- "cloth", key- “source” and key- "master key".

Homophones They differ from homonyms in that they only have the same sound, for example: forests and a fox.

Paronyms words are called that are different in meaning, but similar in spelling and sound, for example: quorum- forum, excavator- escalator. Paronyms can be words of the same root (typo And unsubscribe), and multi-rooted (bison, large wild forest bull, and red deer, large East Siberian deer). Failure to distinguish such words makes speech inaccurate.

What will schoolchildren draw if the teacher tells them: “Draw a meadow”? Word meadow in the meaning of “a piece of land covered with grass, flowers” ​​coincides in sound with homonyms onion-"garden plant" and onion- "weapon". Therefore, some can draw a man shooting an archery, others an onion, others a meadow covered with daisies.

The sentences “While playing, he forgot about his glasses” and “The boy
sent for grenades” are also ambiguous. This is explained by the fact that the words glasses And grenades have homonyms in Russian.

The inaccuracy of the sentences “Not a single injection given by nurse Natasha hurts” and “He was a funny guy, once he starts laughing, you can’t stop him” is explained by the fact that the speaker does not distinguish between paronyms sick and sick, funny, I'm funny."

L. N. Tolstoy said well about the need to monitor the accuracy of the expression of one’s thoughts: “The only means of mental communication between people is the word, and in order for this communication to be possible, it is necessary to use words in such a way that with each word they undoubtedly evoke in everyone relevant and precise concepts.” This is what PRECISION OF SPEECH means.

Conditions for achieving accuracy:

1) knowledge of the subject of speech - an aspect of general speech culture

2) knowledge of the language, its system, the opportunities it provides (especially knowledge of the lexical system);

3) the ability to correlate knowledge of a subject with knowledge of the language system and its capabilities in a specific act of communication.

Accurate word use is achieved primarily through the following speech skills associated with linguistic means:

- the ability to choose the right words from a synonymous range

- the ability to avoid speech inaccuracies due to inattention to the form of expression;

- the ability to distinguish between words with the same root;

- the ability to differentiate between paronyms;

- ability to use words of passive vocabulary.

Thus, we are convinced that inaccurate speech does not (may not achieve) the set goal, does not have the desired impact on the reader, and prevents the reader from correctly perceiving and evaluating the facts presented and the phenomena described.

So, accuracy of speech is one of the main advantages of speech, the basis of its logic. At the same time, accuracy is a multifaceted quality. And conscious, targeted deviations from it are based on compliance with one of the main requirements of the culture of speech - the desire for expediency in the use of all means.

§ 1. In the typology of qualities of good speech, there is one thing that occupies a special place in its importance - this is appropriateness. The term is to a certain extent conventional, but its content is very specific both in extralinguistic and linguistic terms.

Relevance is such a selection, such an organization of language means that make speech meet the goals and conditions of communication. Appropriate speech corresponds to the topic of the message, its logical and emotional content, the composition of listeners or readers, informational, educational, aesthetic and other tasks of written or oral

speeches.

Relevance as a necessary quality of good speech was given much attention in the oratory of the ancient Greeks and Romans, in the theory and practice of judicial and political eloquence; relevance is one of the central concepts in modern functional stylistics.

Aristotle in Rhetoric, speaking about the qualities of style public speaking, persistently draws the reader's attention to what is inappropriate in this style. So, one of the reasons for stiltedness oratorical speech he considers “the use of epithets either long, or inappropriate, or in too large a number”, the inappropriateness of the use of poetic expressions. In his statements, the requirement of adequacy of style “to the subjects presented” is repeatedly repeated - “a style appropriate to a given case gives the matter the appearance of probable.”

Aristotle showed the difference between written and oral speech (“...for each type of speech a special style is suitable, for written speech and speech during a dispute, political speech and judicial speech are not the same style”) from the point of view of appropriateness , the organic nature of their use of certain techniques of expressiveness and combinations of words.

Marcus Tullius Cicero believed that the success of the speech at the forum and in civil trials, the author’s ability to convince and subjugate the listener depends primarily on the appropriateness of his speech. “As many tasks as a speaker faces, there are so many types of eloquence,” he writes. “As in life, so in speech, there is nothing more difficult than to see what is appropriate Not for every social position, not for every position, not for every degree of human influence, not for every age, just as not for every place and moment and the listener, the same style is suitable, but in each part of speech, as well as in life, one must always keep in mind what is appropriate: it depends on the essence of the matter being spoken about, and on the persons and speakers, and those listening."

Relevance as the most important and necessary quality of good speech was highly regarded by Russian philologists, judicial and political speakers.

“In eloquence,” writes V. G. Belinsky, “there is a goal, always practical, always determined by time and circumstances.” Eat different types speakers: one “mightily dominates the crowd with the power of his stormy inspiration; another - the insinuating grace of presentation; the third - mainly irony, mockery, wit; the fourth - consistency and clarity of presentation, etc.” And what V. G. Belinsky especially emphasizes is that “each of them speaks, taking into account the subject of his speech, the character of the crowd listening to him, and the circumstances of the present moment.”

The famous lawyer P. S. Porokhovshchikov (P. Sergeich) considered judicial speech as a special form of eloquence, where, in accordance with its goal, qualities such as clarity are appropriate, which is achieved by the purity and accuracy of the syllable (“don’t speak so that he can understand, and so that the judge cannot fail to understand you”), spontaneity, brevity and simplicity. “We must speak simply,” he wrote. - You can say: “Cain, with premeditated intention, took the life of his sibling Abel - this is how it is written in our indictments; or: Cain stained his hands with the innocent blood of his brother Abel - this is what many of us say on the platform; or: Cain killed Abel - this is best, but we almost don’t say that in court.” Porokhovshchikov considers the established patterns of judicial eloquence, when the speaker seems to be deliberately trying to speak long and incomprehensibly, to be inappropriate in a good judicial speech.

A very subtle functional analysis of the appropriateness of individual techniques of expressiveness in various types of public speaking is contained in the works of another brilliant judicial speaker - A.F. Koni. “...Oratorical techniques are completely different for all public speeches in general,” he wrote, “a judicial orator and a political orator have to act completely differently. Appropriate and clever quotes, well-thought-out examples, subtle and witty comparisons, arrows of irony and even rise to the heights of universal human the beginnings do not always achieve their goal in court.”

We find many comments about appropriateness as a necessary quality of the speech of a political speaker in the works of V. I. Lenin. “About the republic,” wrote V.I. Lenin in the article “On slogans and the organization of the Duma and extra-Duma Social-Democrats. work,” every social democrat who makes a political speech anywhere must always speak. But you must be able to talk about the republic: you cannot talk about it in the same way at a factory meeting and in a Cossack village, at a student meeting and in peasant hut, from the rostrum of the Third Duma and from the pages of a foreign organ. The art of every propagandist and every agitator consists in the best way influence a given audience, making the known truth more convincing for it, perhaps easier to digest, perhaps more clearly and firmly imprinted.”

Lenin’s statements about the inappropriateness in the speech of a propagandist of “heavy artillery of sophisticated terms, foreign words,” which, if used unnecessarily, spoil the Russian language, are well known.

M.I. Kalinin called oratory the most difficult. “And the Bolsheviks must possess this art,” they must learn to put their speeches in a form that would facilitate the perception of speech. “Form is the greatest thing,” he said. And searches the desired shape Oratorical performance must necessarily lead to its relevance, to the fact that it corresponds to the moment and the audience.

The appropriateness of speech is a special quality among such qualities as accuracy, purity, expressiveness, etc. The fact is that appropriateness, as it were, regulates the content of each of these qualities in a specific language situation. Without taking into account the specific conditions of communication, our knowledge about the richness and expressiveness of speech is incomplete. Moreover, one or another communicative quality of speech, for example accuracy, expressiveness, may lose its necessity without relying on relevance. In itself, the concept of good speech is relative, has a functional nature and depends, in particular, on the appropriateness of certain linguistic units, methods of their organization, features of use in a given specific act of communication or a typical linguistic situation - style. Relevance strengthens or weakens the sum of the components of the concept of “good speech”.

P. S. Porokhovshchikov pointed out the inappropriateness of certain qualities of speech in a judicial speech, which in other conditions are the merits of the author: “Beauty and liveliness of speech are not always appropriate: is it possible to flaunt the grace of style when speaking about the results of a medical examination of a dead body, or to shine with beautiful expressions conveying the content of a civil transaction? .

What is the concept of appropriateness in linguistic terms, what is its linguistic content? Are there any norms governing the assessment of the relevance - irrelevance of a linguistic fact?

The appropriateness of speech is a functional quality; it is based on the idea of ​​the target setting of the utterance. Relevance from this point of view is the adequacy of the used linguistic means for the purposes of the statement.

Maintaining the appropriateness of speech presupposes knowledge of the styles of the literary language, the patterns of word usage inherent in them, and knowledge of the stylistic system of the language. Relevance requires flexibility in determining the acceptability of certain qualities of speech, linguistic means, speech act generally. Probably for the first time, the functional understanding of the appropriateness of speech was formulated by Pushkin: “True taste does not consist in the unconscious rejection of such and such a word, such and such a turn of phrase, but in a sense of proportionality and conformity.”

The relevance of speech covers different levels of language and is formed by the use of words, phrases, grammatical categories and forms, syntactic structures, and finally, entire compositional speech systems. Their appropriateness may be considered and assessed against different points vision. And in this regard, it would be advisable to distinguish between such aspects of the appropriateness of speech.

Relevance style

§ 2. The relevance of a single word, phrase, construction or compositional speech system as a whole can be predetermined and regulated by the style of the language. In the system of modern literary language, there are several of its varieties that serve the various needs of society, various spheres of communication and which are called functional styles. There are styles of everyday life (or colloquial), business, scientific, journalistic, and fiction style. Each of them has its own specifics, its own patterns of selection and use of linguistic material. And the question of the admissibility of a particular word or phrase in each of them is resolved differently.

For example, the idea of ​​the relevance of a linguistic fact in artistic speech has its own characteristics. The point is that the "norm" literary text inadequate to the norm of literary language. Fiction provides an aesthetically transformed reflection of the speech life of the people, which depends on the ideological and aesthetic principles of the writer’s creativity. The life of a word in a literary text is determined by the complex interaction of at least three types various influences: 1) influence relatively standard norms general literary language;

2) the influence of fictional skills and traditions, reflecting the artistic and linguistic tastes of the era;

3) the influence of individual skills and tastes, which the artist follows in the use of language and which he himself establishes.

The validity, functional justification of deviations from the general literary language norm is the main criterion for their relevance in the text of a work of art. Such digressions should not be confused with speech errors such as “clicked the ankle with the gate” or “come in the evening, darling,” which come from ignorance of verbal meanings (ankle instead of the latch, vecher means “yesterday”) and have no motivation.

In artistic speech, deviations from the literary norm at different levels of language are acceptable and become appropriate.

In Gogol, for example, one can find an illogical, at first glance, use of an intensifying particle. In general literary use, this particle denotes an intensification, a quantitative increase in a characteristic or quality. But in “Dead Souls” we read about officials. At the governor’s ball, they “only looked around to see if the governor’s servant had set up a table for whist. Their faces were full and round, some even had warts.” Or: “The others were also, more or less, enlightened people: some read Karamzin, some Moskovskiye Vedomosti, some even read nothing at all.” In these examples, the word is even used in an unusual, ironic way; it becomes a means of satirical depiction of a “piece of reality.” On faces that are insignificant, not expressing any emotional movements, identical in their insignificance, “even” a wart looks like something noticeable. In the second case, instead of an increase in the attribute, there is a decline, and the enlightenment of officials appears in a caricature.

Violation of the lexical-semantic connections of words familiar to a common literary language, an unexpected convergence of words that are distant in meaning and stylistic coloring underlie the stylistic techniques of satire.

The description of a shop in a provincial town in Gogol’s story “The Stroller” satirically reproduces the background against which one of the vulgar tragicomedies of a vulgar man, mercilessly ridiculed by Gogol, unfolds: “... in the middle of the square there are the smallest shops; in them you can always notice a bunch of bagels, a woman in a red scarf, a pound of soap, several pounds of bitter almonds, shot for shooting, demikoton and two merchant clerks who are always playing piles near the doors.”

Deviations from the usual compatibility are the contexts of the words liberal, lunch, champion, priest, etc. among the poets of “Spark” and “Whistle”, which leads to the appearance of NEW SEMINAL nuances, new expression in THESE WORDS and makes them components of a satirical verbal image. Such digressions are motivated and therefore appropriate.

I see your palace is liberal...

And I hear patriarchal conversation about peasants there.

(V. Kurochkin)

An explosion of the popular masses was close. All measures were expected to be radical, -

In return this time

They only put on a liberal band-aid...

Everything was twisted, everything was pulled together by the Liberal rope.

(Vas. Bogdanov)

Similarly: lunch singer, lunch ode, priest of journalism (D. Minaev), advocate of bribes, advocate of publicity (N. Dobrolyubov), priests of scandal (V. Kurochkin).

In poetry one can observe the activation of phenomena that in literary language are found as isolated and random. For the Russian language, for example, unlike some Slavic languages, the syllabic-forming role of sonorants is not typical, although in some cases syllabic emphasis on these sounds is possible. And in poetry there is a tendency to strengthen the syllable-forming function of sonorous sounds. Khlebnikov stated that he considers words like September, ship as three-syllable. In I. Selvinsky, Vs. Rozhdestvensky, E. Vinokurov, S. Marshak and others, the words crane, thought, register, performance, minister, life rhyme so that the final sonor turns out to be syllabic.

Mister Twister is a former minister. (Marshak)

This life and that life. (Khlebnikov)

Each style of literary language has its own patterns of selection and use of linguistic material. In each of them there are elements that determine its specificity, which are called style-forming. Transferring them to other conditions of communication unnecessarily, without motivation, is rightly considered a violation of the appropriateness of speech, a deviation from the literary norm.

Colloquial speech, which is a special system compared to the written styles of a literary language, is characterized, for example, by syntactic constructions-stereotypes. Their set is relatively small, they are freely reproduced in speech and, from the point of view of a codified literary language, give the impression of irregularities (“Where was the string bag here?”, “Moscow station, how do I get there?”). In colloquial speech, constructions like: “Talent is when you believe in yourself” attract attention (in a book style it should be written - “Talent is believing in yourself”). The identity of the two concepts in them is, as it were, established at the moment of speaking. The use of such constructions outside of colloquial speech is a violation of modern grammatical norms. However, they occur in poetry. But if in colloquial speech these constructions perform a communicative function, then in poetic speech they already have an aesthetic function.

Night. Someone else's station.

And real sadness.

Only now I found out

I'm so afraid for you.

Sadness is when the water becomes fresh,

Apples are bitter

Tobacco smoke is like smoke.

And like a knife to the back of the head,

The coldness of the steel blade -

The thought that you will die or be sick.

(L. Martynov)

L. V. Shcherba wrote about a practical rule of behavior: “... do not transfer the syntactic forms of spoken language into written speech, and if you do this, then only with great caution.” Here is exactly the case when this is done carefully and motivatedly and with the help of “transfer of forms” spontaneity, lively intonations of the lyrical hero’s speech, and movement of thought are conveyed.

Fiction and poetry often use elements of spoken language. But they are appropriate and organic if they are aesthetically transformed, perform a new function, and carry an artistic load, as, for example, in Olga Fokina’s poem “The Mistress”; the poem is built on colloquial intonations, colloquial syntax and vocabulary:

Let's do it like we used to:

Place the log across it without hesitation,

On the one on the pads -

Three poles side by side

Between them is a splinter,

Ali birch bark.

(Everything - without hesitation,

Look how simple it is!)

The habit is alive

And - a mountain off your shoulders!

Well, match girl,

“- You go, go, fellow countryman. Be healthy.

Mikheev awkwardly, not knowing what to say, opened the door and got out of the car. Then he bent down to pick up his briefcase.

Goodbye, Fedor Mikhailovich. Thank you.

My pleasure. And we'll get to Paris.

With pleasure.

So, let's go."

All these stereotypical remarks are appropriate in everyday communication, their semantics is filled with specific content in a speech situation, we cannot do without them in everyday life. But being included in literary dialogue in such a naked form, they become meaningless.

A violation of the criterion of appropriateness is also a fascination with the excesses of technical terminology and cliches of business speech, which can also often be observed in fiction. The style of the work can be oversaturated with special terms and clerical phrases. For example, Yu. Antropov, in the novel “The Pass,” dedicated to drilling geologists looking for water in the steppe, writes:

“Viktor understood that drilling itself gives the team much more benefits than pumping. The main money was spent on moldings, although less time was spent on drilling than on installing plumbing equipment. So it turned out that everything depended on the master’s conscience. As if by accident, the water tank will fill with clay solution - and all is well. Moreover, SMU did not have a logging machine that could be used to tap the aquifer.”

“Victor wanted to offer his father a new drilling rig, received by SMU according to the order. The machine was fundamentally new, drilling on it was carried out using compressed air without clay washing fluid.”

What is the need to introduce into artistic speech an abundance of technical, professional terms, the meaning of which is incomprehensible without special dictionaries and which do not perform any aesthetic function? They are functionally impractical here, and therefore inappropriate.

There is an area of ​​communication where they are functionally appropriate and appropriate - this is business style. Template and standard are a characteristic feature of a business document; there they do not complicate, but facilitate the process of communication. They help to express the content more concisely and clearly, and contribute to the speed of perception of information.

Of course, this does not mean that any patterns of business speech should be positively assessed. Among them there are those that are a sad legacy of the pre-revolutionary command language. V.I. Lenin wrote about them: “... nine-tenths of the circular is filled with the usual official idle talk. Chewing on things known a long time ago and repeated hundreds of times even in the Code of Laws, beating around the bush, describing the details of the Chinese ceremonial of relations between mandarins, a magnificent clerical style with periods of 36 lines and with “sayings” that make you feel painful for your native Russian speech."

Each era has its own characteristics and norms of business speech. These days in business style There is a tendency towards democratization, simplicity, and these kinds of standards, which V.I. Lenin wrote about and which, unfortunately, are still found today, have become obsolete and are inappropriate in modern literary language.

Contextual relevance

§ 3. The relevance of a particular linguistic unit is also regulated by such a factor as context, i.e. its speech environment. Context is not a random conglomeration of words, it is a compositional speech system that presupposes the unity of the plan of content and the plan of expression, the uniformity of stylistic tonality. The criterion of contextual appropriateness, although in general terms is determined by stylistic appropriateness, does not always coincide with it. It is often possible to observe cases when a linguistic means, traditionally unacceptable for a certain style, certain conditions of communication, in a specific context turns out to be appropriate, moreover, the only one necessary to achieve the desired effect.

Let us refer to the example of verbal nouns - such as firing, order, etc. In the linguistic consciousness of the second era half of the 19th century century, when this category of words actively penetrated into general literary use, a negative attitude developed towards them. And today in stylistics there is a traditional idea of ​​them as a means of little expression and therefore inappropriate, for example, in artistic oratory speech.

This idea did not arise by chance. Although these nouns, derived from verbal stems (read - reading, distribute - distribution, publish - publication), retain the meaning of process, they are less expressive than the verb. Why? Because the verb is capable of conveying much more shades of meaning and makes speech more compact. Thanks to his ability to manipulate nouns, he can form a series of sequentially dependent words and constructions (what Potebnya called "syntactic perspective").

The verb conveys aspectual and voicing shades; verbal nouns do not have such possibilities (to publish, to publish - publication; to move - to move - movement). The use of verbal nouns, especially in large quantities, makes the speech melodically poor, amorphous, gives it a touch of bureaucracy, entails, as a rule, the appearance of unnecessary, not informative the right words(complicate - lead to complication, investigate - conduct an investigation, control - control).

The main area of ​​use of verbal nouns is business and scientific speech:

"From external factors, which negatively affect natural renewal, of particular importance is excess moisture in the soil, which entails a sharp deterioration in soil aeration, i.e. supplying it with oxygen."

However, A. M. Peshkovsky believed that they should also be avoided in business documents. The abuse of verbal nouns in pre-revolutionary office work gave rise to witty parodies; in Gleb Uspensky, for example, we read: “about pulling me out of a chair by the leg,” “about throwing my galoshes.” It is no coincidence that V.I. Lenin, in the above-quoted excerpt from the article “The Fight against the Starving,” speaking about the usual official idle talk, uses several verbal nouns - chewing, walking, painting, thereby appreciating the “beauty” of the clerical-bureaucratic style.

P. S. Porokhovshchikov pointed out the undesirability of using verbal nouns in judicial speeches, ironically quoting the speech of one of his colleagues: “A talented prosecutor is indignant at the laxity of morals when “the kulak is given the freedom to break his face.”

Verbal nouns are the category of words that, perhaps, most often gives us cases of inappropriate word usage. For example, in a newspaper article from a school librarian we read:

“The librarian presents reports on instilling in schoolchildren a love of reading, with recommendations on what and how to read, and with reading analysis to students and parents... Considerable importance is attached to the development of word education in schoolchildren in grades 4-10. To help you pass curricula The library has permanent exhibitions of books.”

Comments, as they say, are unnecessary.

But are verbal nouns always worse?

verb? Is this not the case when, as Pushkin said, we unconditionally reject an entire category of words?

It turns out that here, too, the point is a sense of proportionality and conformity.

Here we have before us a poem by A. A. Fet “Whisper, timid breathing...”

1 A. M. Peshkovsky quoted an order of one City Duma, which recommended that dog owners “not take them out without muzzles, depriving them of the opportunity to bite.”

Whisper, timid breathing,

The trill of a nightingale,

Silver and the swaying of the Sleepy stream,

Night light, night shadows,

Endless shadows

A series of magical changes to Sweet face,

There are purple roses in the smoky clouds,

The reflection of amber

And kisses and tears -

And dawn, dawn!..

It contains only 36 words, of which 23 are nouns, 7 adjectives, 2 prepositions and 4 conjunctions and. And what especially attracts attention is that there is not a single verb. But there are 6 verbal nouns: whisper, breathing, swaying, change, reflection, kissing. And even there, “...where objects are named by the poet, they are also given not in static form, but in movement (grammatically, not as subjects, but as additions): the trill of a nightingale, the swaying of a stream, a series of facial changes,” writes D. D. Blagoy. In Fet this is not the only case of a verbless structure.

Why did Fet, a “poet-musician”, in the words of P. I. Tchaikovsky, with a keen sense of the word and its nuances, prefer a noun to a verb, creating one of his most poetic poems? It was highly appreciated by L. Tolstoy, Dostoevsky, Shchedrin - writers who were far from “pure art” and even from sympathy for Fet’s work.

Why did Fet do without a verb? The point is not that he, as D.D. Blagoy thinks, “went against generally accepted grammatical ideas and rules.” There are no grammatical violations here - these are nominal constructions characteristic of the Russian language. But why did Fet find that the noun in this case is more expressive than the verb?

The advantage of a verbal noun is the impersonality and uncertainty of the character. And this is in harmony with the general lyrical structure of the poem, which captivates the reader with the charm of the unsaid, the chastity of silence. The verb, as a rule, is associated with a real person, a specific figure, and therefore would be too rough and inappropriate to convey the subtle nuances of poetic content.

That is why verbal nouns, which are in principle undesirable in artistic speech, in the specific context of Fet’s poem act as the only appropriate means of expression.

The contextual relevance of a speech fact presupposes the correspondence of its stylistic coloring to the general stylistic tone of the statement, passage, work as a whole, unless, of course, there is a special setting that justifies the inclusion of words and phrases that are contrasting in their meanings with the general background.

“The most delicate, most vulnerable and at the same time very important element of a language is its stylistic structure,” wrote L. V. Shcherba. A word, as is known, in addition to its lexical meaning, subject, conceptual content, can carry information about its belonging to a certain sphere of communication and its ability to be not only a direct nomination, but also to express an assessment of an object, to express the attitude of the speaker, and of him, the speaker, towards it , characteristics. In the first case, i.e. when a word carries information about its belonging to a certain sphere of communication, we are talking about the functional-stylistic coloring of the word, about its attachment to certain linguistic styles (babbler, anti-aircraft gun - colloquial, abbreviation, agrarian, declarative - book). In the second, that is, when a word expresses the speaker’s assessment of an object, it is about expressive-stylistic coloring, i.e., the attachment of the word to contexts, the author of which seeks to convey his attitude to what is being communicated, to influence the reader or interlocutor. In this case, the colors differ - sublime or high - selfless, daring, violet; familiar - balk, rob, howl; emotional and intellectual-evaluative vocabulary stands out - profan, defame, accomplice. Vocabulary that is not assigned to special contexts is generally used or neutral (house, water, go, etc.).

Words based on stylistic characteristics can form paradigms: face - face - face, quick-witted - quick-witted - brainy, blink - miss - miss.

A violation of communicative expediency, the appropriateness of speech is considered to be rapprochement, confusion in CON-

text of words of different stylistic colors. “If someone writes in a serious book “phagocytes gobble up microbes,” it will be stupid and inappropriate,” pointed out L. V. Shcherba.

But, unfortunately, this or something like this is often what we say and write here. Violation of the appropriateness of speech at the stylistic level is one of the most common speech errors. This violation can occur when a literary word is replaced by a colloquial word, when instead of done they say obtyal, instead of wearing - drag, when a text that is neutral or colloquial in its stylistic coloring includes a word of a different tone - either a high, solemn, or professional term. Here are some examples from newspapers: “The house will be powered by electricity according to the project”; “I will take the strictest measures against my son, up to and including capital punishment - a belt”; “We have one more concern that we want to tell you about.”

The juxtaposition of words with different stylistic characteristics is not always inappropriate. In artistic speech, this becomes a means of creating imagery, when such stylistic contrasts are internally motivated and carry an aesthetic load. In this case, we are no longer faced with a speech error, but an artistic device.

For example, V. Mayakovsky’s “Ode to the Revolution” is built on a mixture of stylistic contrasts.

booed, ridiculed by the batteries, you,

ulcerated by the slander of bayonets,

I exalt with enthusiasm

over the swearing

solemn ode

Oh, bestial!

Oh, children's!

Oh, cheap!

Oh, great one!

What other name did you have?

How else will you turn around, two-faced?

A slender building, a pile of ruins?

To the driver,

covered in coal dust,

a miner breaking through the ores,

cense reverently, glorifying human labor.

Blissful

cathedral rafters

vainly lifts up, begging for mercy, -

your six-inch thick-nosed hogs

The Kremlin's millennia are being blown up.

It wheezes on its dying flight.

The screech of sirens is stiflingly thin.

You send sailors to a sinking cruiser, there,

where the forgotten kitten meowed.

A drunken crowd screamed.

The dashing mustache is twisted in force.

You drive the gray admirals upside down with rifle butts

from the bridge in Helsingfors.

Yesterday's wounds lick and lick, and again I see open veins.

Philistine for you

Oh, be thrice damned! - and my,

Oh, glory four times, blessed one! -

This poem is about two different, diametrically opposed perceptions of the revolution - the personal perception of the author and the philistine. These two views are figuratively concentrated in a quatrain, built on the intensification of speech antonyms: oh, bestial! oh, children's! oh, cheap! oh, great one! And the whole poem, as is easy to see, is two-dimensional. The author's perception plan is expressed primarily by the vocabulary of the book sphere of use, with a high stylistic coloring, giving the text solemnity. Stylistically colored vocabulary has the ability, even if interspersed in small quantities in a neutral speech environment, to convey its tonality to the text. In the poem these are the words: ulcerated, enthusiastically, exalt, solemnly, fanned (coal dust fanned is also a speech contrast, but already subject-logical), incense, reverently, glorify, blessed.

The plan of the philistine perception and assessment of the revolution is conveyed by colloquial vocabulary, reduced in its expressive coloring - yell, rollicking, force. It is characteristic that this vocabulary is also involved in metamorphic contexts - six-inch blunt-nosed hogs.

Here we do not pretend to provide a complete stylistic analysis of the poem. We noted only one of the features of his style - the convergence of vocabulary of different colors, which becomes a means and form of expressing the content of a poetic work.

The stylistic contrast of verbal concatenations is also used in literature as a comic device, a way of expressing irony. Satire uses these techniques. Wed. contexts of the word trend: “The trend of modern education has already touched Oblomov” (Dobrolyubov) and

To the envy of the Western world, embraced by the Yerzhny wind,

Averkiev will outshine Shakespeare.

(V. Kurochkin)

In the first case, it is in a familiar, stylistically homogeneous environment, in the second it is combined with a roughly colloquial definition, creating a verbal satirical image.

M. Gorky’s metaphors are based on the convergence of book vocabulary with words that are less expressive in color - practical-philosophical greasiness, service to the pure art of lies and pretense, a mess of ideas, the deafening harmony of a wild boar.

This technique is widely represented in Shchedrin: knights of a broken penny, knights of an unpunished slap, knights of fist law, literary bribery, literary convict, moral slaps, moral monster, etc.

Relevance is situational

§ 4. The appropriateness of speech is found not only at individual linguistic levels - we can talk about appropriateness at certain speech systems, in speech situations, in the style of the work as a whole.

Sometimes individual compositional components of the text suffer from inappropriateness in a work of art - dialogue constructed without taking into account the laws of colloquial speech, photographic and meaningless, improperly direct speech.

The hero of I. Golovnenko’s story “The Black Path” Alexey Petrovich Pavlenko is a state security colonel, a former worker. Before dawn, he goes out to smoke on the balcony and “stands for a long time at the railing, looking at familiar neighborhoods lost in the vaguely flickering darkness.” And then follows inappropriately direct speech, the signals of which are in the text. Let us quote it with slight abbreviations.

“He knows this city well since the pre-war period, loves the mosaic of its quarters, the spaciousness of the new streets and squares, the slender silhouettes of poplars along the avenue, the sleepless lights of the station, the distant colonnade of factory chimneys...

It is perhaps strange that even now, after many years that have passed since the time when Pavlenko worked at the machine, he is still attracted by the very appearance of the plant, attracts and vaguely excites him, giving rise to feeling light, inexplicable sadness...

It is possible that the feeling similar to sadness that Pavlenko is experiencing at these moments is rooted in the first, unique joys experienced long ago, at the beginning of his difficult path... Alexey Petrovich does not have to regret the past years - they were filled with painstaking and difficult work ...

And Alexey Petrovich caught himself thinking that even while admiring his hometown, spread out in the valley, he was looking from his professional point of view... He, “ night watchman” of the city, thought about protecting its clear peace.

Only he had his own concept of night. The night seemed to Pavlenko different from what everyone knows it from childhood. She involuntarily evoked in him the idea of ​​some kind of center of evil, secret evil thoughts, tricks, cruelty and deceit.

And Alexey Petrovich returns mentally to the last mail, to a homemade triangle of a letter, poisoned with anger...

The city is sleeping... But somewhere the night shadows of evil are not sleeping, lurking.

No, Pavlenko does not regret his chosen path at all. True, he could have done a lot since his youth and at the factory, many wonderful things. But to protect the very lives of the craftsmen, their work, shelter and hearth, their happiness, isn’t this your pride, security officer, unknown night guard of the Motherland?

We will now leave aside such qualities of the style of this passage as the inability to find the right exact word (either this is inexplicable sadness, then a line later it is already a feeling similar to sadness; the night evoked the idea of ​​​​some kind of focus of evil), as well as obvious grammatical irregularities ( he could have done a lot since his youth), such as the lack of that semantic capacity, associativity, and versatility of the word that make speech figurative, and therefore artistic.

Let us look at this passage only from the point of view of the appropriateness of its speech structure in a given situation.

Formally, this is the author's speech - the hero is spoken of in the third person, but this is a way of conveying his internal monologue (Alexey Petrovich caught himself thinking, mentally returns, etc.). It is impossible to imagine that a person who lived interesting life, mentally could resort to such templates, to such erased words, to such banal beauties with which the text is oversaturated. This is the appearance of the plant, the beginning of a career, painstaking and complex work, a professional point of view - words and phrases that have become templates for newspaper, journalistic and business language. This is an alluring light, inexplicable sadness, the focus of evil, secret thoughts, cruelty and deceit, poisoned by malice, shelter and hearth, the night shadows of evil - pretentious fictional cliches. Where is the hero’s fresh thought, where is the author’s living word about him?

This is exactly the case when the correspondence with reality is violated, when the principle of artistic realism is violated. There is a clear inappropriateness of this speech structure here.

In the article “Notes on the stylistics of modern Soviet literature,” V. V. Vinogradov sharply raised the question of “philistinism in the field of verbal and artistic stylistics.” Philistine stylistics, like a disease penetrating Soviet literature, leads away from realism and manifests itself in the desire for “beauty”, for coloring the text with banal phrases, for ornate phrases, internally empty, for “excesses” in the image small parts everyday life V.V. Vinogradov believes that such a speech organization of the text is inappropriate in literature.

Unfortunately, the style of a number of books is affected by the disease that Vinogradov wrote about. This is especially true for descriptions of the characters’ appearance, their thoughts, nature, as well as the author’s reflections. Here is an example from K. Kudievsky’s story “Moonlit Nights”:

“Reason tried to penetrate the moonlit nights, to dispel the captivating mystery of their thoughtlessness; the feelings were simply given over to them and became related to them. Man himself turned into a particle of moonlit nights, acquiring, along with their purity, their inspiration. And before him such floods arose in which the mind is still powerless, where one can live only with dreams and hopes - albeit pristinely free and unclear, but not yet burdened by the search for ways to them.

Here in every line there is “the mysterious captivatingness of thoughtlessness,” the mind is powerless, in the author’s words, to perceive these verbal images and their content. This is exactly the case when words are chosen not on the basis of their appropriateness in a given situation, in a given text, but when “banal words and images are chosen for their “beauty” (V.V. Vinogradov).

Relevance

personality-psychological

§ 5. Speaking with an interlocutor, speaking in front of an audience, we not only convey this or that information, but, wittingly or unwittingly, we also convey our attitude to reality and to the people around us. Therefore, it is important to take care of how our speech will affect the interlocutor - whether it will traumatize him with rudeness, or humiliate his dignity.

The appropriateness of speech is a very important quality in the social aspect, because it regulates, or at least should regulate, all of our speech behavior.

The ability to find the right words and intonation in a given communication situation is the key to a successful relationship between interlocutors, the emergence of so-called feedback, and the key to people’s moral and even physical health.

In our lives, at every step we are faced with facts when inappropriate speech becomes a social evil. An inappropriately harsh word, an inappropriately thrown remark; metallic intonations and categorical judgments can cause severe mental trauma to a person.

Rudeness is one of the most typical manifestations of inappropriate speech, the social consequences of which, unfortunately, not everyone is well aware of.

The famous surgeon Professor F. G. Uglov writes: “We, doctors, often encounter diseases caused by the tactlessness and inattention of other people. It is all the more difficult to see how a person is exposed to serious danger and suffers greatly due to rudeness. And it seems strange that in our state, where the most humane principles of socialist relations are accepted as the norm, in some places there is no serious fight against manifestations of rudeness...

If a bullet fired by an enemy can damage a part of the body, then a rude word hits the heart and often knocks a person down on the spot.”

The criterion for the appropriateness of speech is a historical criterion, determined in each era by the level of development of the literary language, the speech tastes of society and, apparently, a number of extralinguistic reasons. One content of the concept of appropriateness was in the 18th century, when the theory of three styles sharply demarcated the vocabulary, assigning it to genres. It acquired a different content when Pushkin, based on the progressive traditions of the past, created a new stylistic system of the Russian language, where the relevance of a linguistic fact was determined primarily by the content of the work, the artistic method of realism.

Violation of the criterion of appropriateness is always acutely felt in both oral and written speech. How to rid speech of stylistic errors caused by inappropriate word usage? This is not given to a person from birth; the ability to change the nature of speech in relation to the content, conditions and tasks of communication is cultivated and turns into a lasting skill if a person understands the need and achieves this.

What does the speaker and writer need to know so that his speech corresponds to the information and target tasks, setting, and audience? We can name several conditions that are necessary to make our speech appropriate.

Firstly, it is a good knowledge of the structure of the language, i.e. its units-words, phraseological units, syntactic structures, which provide us with the opportunity to select the necessary means of expression in each specific case. This is a good knowledge of the language system, i.e. those connections and relationships in which its structural elements. Only having an idea of ​​the specifics of literary language styles and the stylistic differentiation of vocabulary can one find the most appropriate way, an option for transmitting information.

Secondly, this is the ability to use language, the skills of wise use of its resources, and these skills

are inextricably linked with the culture of people’s thinking and speech.

Thirdly, this is a good knowledge of the subject, the topic that we are going to talk about, a clear understanding of the volume and nature of the information that needs to be communicated to listeners or readers.

Finally, moral and psychological factors also play an important role - the culture of the speaker or writer, his sensitivity, friendly and respectful attitude towards people, his ideological position and conviction.

communicative quality of speech, which arises on the basis of the relationship between speech and communication conditions. U.r. - the necessary quality of good speech, which consists in such a selection, such an organization of language means that make speech consistent with the goals and conditions of communication. U.r. corresponds to the topic of the message, its logical and emotional content, the composition of listeners or readers, informational, educational, aesthetic and other objectives of written or oral presentation. U.r. captures different levels of language (the use of words, phrases, grammatical categories and forms, syntactic structures and entire compositional speech systems) and can be viewed and assessed from different points of view. There are U. r. stylistic, contextual, situational and personal-psychological. U.r. stylistic is that the appropriateness of a single word, phrase, construction or compositional speech system as a whole is predetermined and regulated by the style of the language. Each of the functional styles has its own specifics, its own patterns of selection and use of linguistic material. In each of them there are elements that determine its specificity, which are called style-forming. Transferring them to other conditions of communication unnecessarily, without motivation, is rightly considered a violation of the Regulations. The relevance of a particular linguistic unit is also regulated by such a factor as context, i.e. its speech environment.

Context is a compositional speech system that presupposes the unity of the content plan and the expression plan, the uniformity of stylistic tonality. The criterion of contextual appropriateness, although in general terms it is determined by stylistic appropriateness, does not always coincide with it. It is often possible to observe a case when a linguistic means, traditionally unacceptable for a certain style, certain conditions of communication, in a specific context turns out to be appropriate, moreover, the only one necessary to achieve the desired effect. So, for example, in stylistics there has developed a negative attitude towards verbal nouns, since the use of verbal nouns, especially in large quantities, makes speech melodically poor, amorphous, gives it a touch of bureaucracy, etc. In the wonderful poem by A.A. Feta “Whisper, timid breathing...” there is not a single verb, but there are six verbal nouns: whisper, breath, swaying, change, reflection, kiss. Why did Fet, the poet-musician, choose a noun over a verb, creating one of his most poetic poems? The advantage of a verbal noun is the impersonality and uncertainty of the character. And this is in harmony with the general lyrical structure of the poem, which captivates the reader with the charm of the unsaid. The verb, as a rule, is associated with a real person, a specific figure, and therefore would be too rough and inappropriate to convey the subtle nuances of poetic content. U.r. is found not only at individual language levels, but also in certain speech systems, situations, and in the style of the work as a whole. Sometimes individual compositional components of the text suffer from inappropriateness in a work of art - dialogue constructed without taking into account the patterns of colloquial speech, descriptions of the appearance of the characters, their thoughts, nature, as well as the author's reflections.

Speaking with an interlocutor, speaking in front of an audience, we not only convey this or that information, but, wittingly or unwittingly, we also convey our attitude to reality and to the people around us. Therefore, it is important to take care of how our speech will affect the interlocutor - whether it will traumatize him with rudeness, or humiliate his dignity.

U.r. - a quality that is important in the social aspect: it regulates our speech behavior. The ability to find the right words and intonation in a given communication situation is the key to a successful relationship between interlocutors, the emergence of so-called feedback, and vice versa: the teacher was unable to find the right words to communicate with a student, talking to a tenth grader in the same way as to a fifth grader, as a result no contact, no trust.

Lit.: Golovin V.N. Fundamentals of speech culture. - M., 1980; Ladyzhenskaya TA. Speech quality // Living word: Oral speech as a means and subject of learning. - M., 1986.

• - these are the real properties of its content and formal aspects: “correctness, accuracy, logic, purity, expressiveness, richness and appropriateness...

  Pedagogical speech science. Dictionary-reference book

• - 1. A separate segment of speech that, under given conditions, has a specific target orientation. 2...

  Explanatory translation dictionary

• - A form of appropriateness of speech, conditioned by the use of a linguistic unit in a certain, necessary context...
• - Special communicative quality of speech; such a selection, such an organization of language means that make speech meet the goals and conditions of communication...

  Dictionary of linguistic terms T.V. Foal

• - A form of speech appropriateness determined by a specific communication situation...

  Dictionary of linguistic terms T.V. Foal

• Dictionary of linguistic terms T.V. Foal

• - A form of appropriateness of speech, conditioned and regulated by a particular style of language...

  Dictionary of linguistic terms T.V. Foal

• - in rhetoric: the correspondence of the way of expressing the speech situation and the expectations of the audience...

  Rhetoric: Dictionary-reference book

• - R., D., Pr....

  Spelling dictionary of the Russian language

• - APPROPRIATE, -aya, -oe; -ten, -tna. Appropriate to the setting, done at the right time. U. question...

  Ozhegov's Explanatory Dictionary

• - RELEVANCE, relevance, plural. no, female distracted noun to appropriate. Relevance of the comment. Relevance of objection...

  Ushakov's Explanatory Dictionary

• - relevance g. distracted noun according to adj. appropriate 2...

  Explanatory Dictionary by Efremova

• - mind"...

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• - ...

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• - adverb, number of synonyms: 3 in words in mouth in language...

  Synonym dictionary

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RELEVANCE OF SPEECH

In speech, as in life, one must always keep in mind what is appropriate.

Cicero

Have you ever thought about which words, similar or identical in meaning, are more appropriate in a given situation? After all, we structure our speech differently if we have to speak, for example, with the director of an enterprise, at home, at an official meeting and during vacation.

To show how much the choice of word depends on the situation and the interlocutor, one linguist gave such a funny example.

Let's imagine that a husband asks his wife at dinner what she did today. In response he hears:

In the first half of the day, I quickly ensured the restoration of proper order in the living area, as well as in the food preparation area. utility room common use. In the subsequent period, I organized a visit to a retail outlet in order to purchase necessary food products.

The abnormality of such an answer, unless there is a deliberate joke behind it, is completely obvious. But it is correct both in essence and from the point of view of the norms of literary language. However, these words are appropriate in an official report, in a resolution, in a business letter, but not in a conversation between husband and wife. Here the speech situation requires a simple, everyday answer:

In the morning, I quickly cleaned the room and kitchen, and then went to the grocery store.

As we see, the appeal to linguistic means that have a certain stylistic attachment must be justified; their use may be inappropriate.

Appropriateness of speech- this is an organization of linguistic means that is most suitable for the situation of utterance, meets the tasks and goals of communication, and facilitates the establishment of contact between the speaker (writer) and the listener (reader).

Speech is a coherent whole, and every word in it, any construction must be purposeful and stylistically appropriate. “Each of the speakers,” noted V.G. Belinsky,” he says, in accordance with the subject of his speech, with the character of the crowd listening to him, with the circumstances of the present moment.

The appropriateness of speech is closely related to its style: it is not for nothing that the expression “the word falls out of style” is often used. The broad concept of speech style allows us to apply the principle of dichotomy in each individual case: appropriate - inappropriate. Let us give examples of the appropriate use of selected speech means in texts on the same topic, which have characteristics of different styles.

Scientific text

A thunderstorm is an atmospheric phenomenon consisting of electrical discharges between so-called cumulonimbus (thunderstorm) clouds or between clouds and the earth's surface, as well as objects located above it. These discharges - lightning - are accompanied by precipitation in the form of rain, sometimes with hail and strong wind (sometimes to the point of squall). A thunderstorm is observed in hot weather with rapid condensation of water vapor over overheated land, as well as in cold air masses moving to a warmer underlying surface.

encyclopedic Dictionary

The text appropriately uses words and phrases of a terminological nature ( atmospheric phenomenon, electrical discharges, cumulonimbus clouds, precipitation, squall, condensation, water vapor, air masses). The remaining words are used in a direct, nominative meaning; there are no figurative means of language or emotionality of speech. Syntactically, the text is a combination simple sentences, characteristic of the encyclopedic article genre.

Artistic text

Storm

Lightning flashed between the distance and the right horizon, and so brightly that it illuminated part of the steppe and the place where the clear sky bordered on blackness. The terrible cloud was approaching slowly, in a continuous mass; large, black rags hung on its edge; Exactly the same rags, crushing each other, piled up on the right and left horizons. This ragged, disheveled appearance of the cloud gave it a kind of drunken, mischievous expression. Thunder rumbled clearly and not dully. Yegorushka crossed himself and quickly began to put on his coat. (...) Suddenly the wind rushed and whistled across the steppe, swirled randomly and raised such a noise with the grass that because of it neither thunder nor the creaking of wheels could be heard. It blew from a black cloud, carrying with it clouds of dust and the smell of rain and wet earth. The moonlight became foggy, seemed to become dirtier, the stars frowned even more, and one could see clouds of dust and their shadows hurrying somewhere along the edge of the road. (...)

The blackness in the sky opened its mouth and breathed white fire; Immediately thunder roared again. (...)

For some reason, the rain did not start for a long time... It was terribly dark. And the lightning in the darkness seemed whiter and more dazzling, so that it hurt my eyes. (...)

Suddenly, right above his (Egorushka’s) head, the sky broke with a terrible, deafening crash; he bent down and held his breath, waiting for debris to fall on the back of his head and back... There was a new blow, just as strong and terrible. The sky no longer thundered or rumbled, but made dry, crackling sounds, similar to the crackling of dry wood.

“Fuck! tah, tah! tah!” - thunder clearly rumbled, rolled across the sky, stumbled and somewhere near the front carts or far behind fell with an angry, abrupt - “Trra!..”.

Previously, lightning was only scary; with the same thunder, they seemed ominous. Their magical light penetrated through closed eyelids and spread cold throughout the body. What can I do to avoid seeing them? Yegorushka decided to turn around and face backwards... “Fuck!” tah! tah!” - rushed over his head, fell under the cart and exploded - “Rrrra!” (...)

... Lightning flashed in two places and illuminated the road to the very distance... Streams flowed along the road. and bubbles were jumping.

A.P. Chekhov "Steppe"

Unlike the scientific text, which reveals the concept of “thunderstorm,” the second text is intended for a different purpose - to create a bright, picturesque picture that figuratively reproduces the onset of a thunderstorm. If the picture painted on the canvas is static and is perceived only in space, then the description of the thunderstorm in the excerpt from Chekhov’s story “The Steppe” is given in dynamics, developing in time.

To create a picture you need paints, colors, and they are presented in the text: clear sky, blackness, black rags, black cloud, moonlight has become dirtier, white fire, witchcraft light.

Painting with words allows you to show not only the richness of colors, but also a whole range of sounds: thunder grumbled clearly, the wind rushed with a whistle, made such a noise, thunder roared, a deafening crash, a blow was heard, crackling sounds, “fuck!”

Let us add that when analyzing the language of a literary text, in particular when describing the originality of the speech structure of the works of such a master of artistic expression as Chekhov, one can hardly be guided by the principle “appropriate - inappropriate”: before us is a complete, polished work of speech art in all details, in relation to to which we apply the thesis of L.N. Tolstoy: “the only necessary placement of the only necessary words.”

Newspaper note

As our correspondent reports, yesterday an unprecedented thunderstorm passed over the central regions of the Penza region. In a number of places, telegraph poles were knocked down, wires were torn, and hundred-year-old trees were uprooted. Fires broke out in two villages as a result of lightning strikes. Added to this was another natural disaster: heavy rain caused severe flooding. Some damage was caused to agriculture. Rail and road communications between neighboring areas were temporarily interrupted.

The text is typical for newspaper materials. Its characteristic features are economy of linguistic means, brevity of presentation with richness of information; selection of words and constructions with an emphasis on their clarity (use of words in their literal meaning, predominance of simple syntactic structures); use of clichés (as our correspondent reports), lack of individual style elements.

Official report

We would like to inform you that yesterday after midnight, a strong thunderstorm swept over the regional center - the city of Nizhny Lomov and the surrounding countryside, which lasted for about half an hour. The wind speed reached 30–35 meters per second. Significant material damage was caused to the property of collective farms and the villages of Ivanovka, Shchepilovo and Vyazniki, estimated, according to preliminary data, in tens of thousands of rubles. There were fires caused by lightning strikes. The building of an eight-year-old school in the village of Kurkovo was badly damaged; its restoration will require major repairs. The Vad River overflowed its banks as a result of heavy rain and flooded a large area. There were no human casualties. A special commission was formed from representatives of the district executive committee, district health department, state insurance and other institutions to determine the extent of the damage caused by the natural disaster and provide assistance to the affected local population. The measures taken will be reported immediately.

In this text, as in the previous one, one feels the “dryness” of the presentation: only the factual side of the event is reported, the author’s feelings are not expressed anywhere, his individual style. Also characteristic are conciseness, compactness of presentation, the use of words in their literal meaning, and a simple syntactic structure. But the second text is distinguished by greater accuracy of the message - specific names and digital data are given. It uses words and expressions characteristic of the official business style ( significant material damage was caused; property of collective farms; calculated according to preliminary data; took place; major repairs; significant area; special commission; Taken measures; please be informed; will be reported immediately) verbal nouns ( restoration, clarification, provision), compound words (district executive committee, district health care, state insurance).

Private letter

You won't believe what a thunderstorm passed over us yesterday! I am not a timid person, and even then I was scared to death.

At first everything was quiet, normal, I was just about to lie down, but suddenly lightning flashed and thunder boomed! And with such force that our whole house shook. I was already wondering if the sky above us had broken into pieces that were about to fall on my unfortunate head. And then the abysses of heaven opened up... In addition to everything, our harmless river swelled, swollen and well, flooded everything around with its muddy water. And very close by, as they say - just a stone's throw away, a school caught fire. Both old and young - everyone poured out of the huts, jostling, yelling, cattle roaring - such passions! I was really scared at that hour, and, thank God, it was all over soon.

The text uses colloquial vocabulary and phraseology (a man of no timidity; bang; just about; the abysses of heaven have opened up; just around the corner; both old and young; jostling; yelling; such passions; really scared; thank God); words with evaluative suffixes (power, little house, river, water). The syntax of the text is characterized by connecting constructions (and then he got scared, but with such force; he was about to pull himself together... when suddenly); infinitives as predicates (and well fill it up); emotionally charged exclamatory sentences.

All the above texts are heterogeneous in style, each of them is characterized by a targeted selection of speech means that have a certain stylistic coloring. It depends on the attachment of words, grammatical forms, syntactic structures to certain functional styles of the Russian language.

Functional style is the historically established system of linguistic means used in a certain area of ​​communication. Using the example of the texts we have cited, one can be convinced that the scientific style of presentation differs from the official business one, the journalistic style differs from the colloquial one, etc. Stylists clearly distinguish between book styles. functional styles (scientific, official business, newspaper and journalistic) and conversational. Book styles are usually implemented in written form, conversational - mainly in oral speech.

In our opinion, the language of fiction (or fiction style) occupies a special place in the system of styles. The language of fiction, more precisely artistic speech, does not represent a system of homogeneous linguistic phenomena; on the contrary, it is devoid of any stylistic isolation; it is distinguished by a variety of individual authorial means; he uses elements of all styles, but “in a functionally transformed form,” as academician V.V. pointed out. Vinogradov. Artists of words can find living, bright colors in any word and expression, if its use is necessary to depict any life phenomenon.

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