The main features of the artistic style of speech briefly. Artistic style - features and language. What a summer, what a summer

In school literature lessons, we all studied speech styles at one time or another. However, few people remember anything on this issue. We invite you to refresh this topic together and remember what literary and artistic style of speech is.

What are speech styles

Before talking in more detail about the literary and artistic style of speech, you need to understand what it actually is - a style of speech. Let's briefly touch on this definition.

Speech style must be understood as special speech means that we use in a certain situation. These means of speech always have a special function, and therefore they are called functional styles. Another common name is language genres. In other words, this is a set speech formulas- or even clichés - that are used in different cases(both orally and in writing) and do not coincide. This is a speech manner of behavior: at an official reception with high-ranking officials, we speak and behave this way, but when we meet with a group of friends somewhere in a garage, cinema, club, it is completely different.

There are five in total. We will briefly describe them below before proceeding in detail to the issue that interests us.

What are the types of speech styles?

As mentioned above, there are five styles of speech, but some believe that there is also a sixth - religious. In Soviet times, when all speech styles were distinguished, this issue was not studied for obvious reasons. Anyway, it's official functional styles five. Let's look at them below.

Scientific style

It is used, of course, in science. Its authors and recipients are scientists and specialists in a specific field. Writing of this style can be found in scientific journals. This language genre is characterized by the presence of terms, general scientific words, and abstract vocabulary.

Journalistic style

As you might guess, he lives in the media and is called upon to influence people. It is the people, the population, that are the addressee of this style, which is characterized by emotionality, brevity, the presence of commonly used phrases, and often the presence of socio-political vocabulary.

Conversational style

As its name suggests, it is a communication style. This is a predominantly oral language genre; we need it for simple conversation, expression of emotions, and exchange of opinions. He is sometimes even characterized by vocabulary, expressiveness, lively dialogue, and colorfulness. It is in colloquial speech that facial expressions and gestures often appear along with words.

Formal business style

Mainly a style writing and is used in an official setting for paperwork - in the field of legislation, for example, or office work. With the help of this language genre, various laws, orders, acts and other papers of a similar nature are drawn up. It is easy to recognize him by his dryness, information content, accuracy, the presence of speech cliches, and lack of emotionality.

Finally, the fifth, literary and artistic style (or simply artistic) is the subject of interest for this material. So we’ll talk about it in more detail later.

Characteristics of literary and artistic style of speech

So, what is this - an artistic language genre? Based on its name, one can assume - and not be mistaken - that it is used in literature, specifically in fiction. This is true, this style is the language of literary texts, the language of Tolstoy and Gorky, Dostoevsky and Remarque, Hemingway and Pushkin... The main role and purpose of the literary and artistic style of speech is to influence the minds and consciousness of readers in such a way that they begin to reflect, so that an aftertaste remains even after reading the book, so that you want to think about it and return to it again and again. This genre is intended to convey to the reader the thoughts and feelings of the author, to help see what is happening in the work through the eyes of its creator, to be imbued with it, to live their lives together with the characters on the pages of the book.

The text of a literary and artistic style is also emotional, like the speech of its colloquial “brother,” but these are two different emotionalities. In colloquial speech, we free our soul, our brain with the help of emotions. When reading a book, we, on the contrary, are imbued with its emotionality, which acts here as a kind of aesthetic means. We will tell you in more detail about those signs of a literary and artistic style of speech by which it is not at all difficult to recognize it, but for now we will briefly dwell on the enumeration of those literary genres that are characterized by the use of the above-mentioned style of speech.

What genres is it typical for?

The artistic language genre can be found in fable and ballad, ode and elegy, in story and novel, fairy tale and short story, in essay and story, epic and hymn, in song and sonnet, poem and epigram, in comedy and tragedy. So both Mikhail Lomonosov and Ivan Krylov can all equally serve as examples of literary and artistic style of speech, regardless of how different their works were.

A little about the functions of the artistic language genre

And although we have already stated above what the main task is for this style of speech, we will still present all three of its functions.

Impactful (and a strong impact on the reader is achieved with the help of a well-thought-out and written “strong” image).
Aesthetic (the word is not only a “carrier” of information, but also constructs an artistic image).
Communicative (the author expresses his thoughts and feelings - the reader perceives them).

Style features

The main stylistic features of the literary and artistic style of speech are as follows:

1. Using a large number of styles and mixing them. This is a sign of the author's style. Any author is free to use in his work as many linguistic means of different styles as he likes - colloquial, scientific, official and business: any. All these speech means used by the author in his book form a single author’s style, by which one can subsequently easily guess a particular writer. This is how Gorky can be easily distinguished from Bunin, Zoshchenko from Pasternak, and Chekhov from Leskov.

2. Using words that are ambiguous. With the help of this technique, hidden meaning is inserted into the narrative.

3. The use of various stylistic figures - metaphors, comparisons, allegories and the like.

4. Special syntactic constructions: often the order of words in a sentence is structured in such a way that it is difficult to express oneself using this method in oral speech. You can also easily recognize the author of the text by this feature.

Literary and artistic style is the most flexible and borrowing. It literally absorbs everything! You can find in it neologisms (newly formed words), archaisms, historicisms, swear words, and various argots (jargons of professional speech). And this is the fifth line, the fifth hallmark the above-mentioned language genre.

What else you need to know about artistic style

1. One should not think that the artistic language genre lives exclusively in written form. This is not true at all. In oral speech, this style also functions quite well - for example, in plays that were first written and are now read aloud. And even listening oral speech, you can clearly imagine everything that happens in the work - thus, we can say that the literary and artistic style does not tell, but shows the story.

2. The above-mentioned language genre is perhaps the most free from any restrictions. Other styles have their own prohibitions, but in this case there is no need to talk about prohibitions - what restrictions can there be if the authors are even allowed to weave scientific terms into the fabric of their narrative. However, it is still not worth abusing other stylistic means and presenting everything as your own author’s style - the reader should be able to understand and understand what is before his eyes. Abundance of terms or complex structures will make him get bored and turn the page without finishing.

3. When writing a work of art, you need to be very careful in choosing vocabulary and take into account what situation you are describing. If we're talking about about a meeting between two officials from the administration - you can insert a couple of speech cliches or other representatives of the official business style. However, if the story is about a beautiful summer morning in the forest, such expressions will be clearly inappropriate.

4. In any text of literary and artistic style of speech, three types of speech are used approximately equally - description, reasoning and narration (the latter, of course, occupies the largest part). Also, types of speech are used in approximately the same proportions in the texts of the above-mentioned language genre - be it a monologue, dialogue or polylogue (communication of several people).

5. An artistic image is created using all means of speech available to the author. In the nineteenth century, for example, the technique of using “speaking surnames” was very widespread (remember Denis Fonvizin with his “Minor” - Skotinin, Prostakov and so on, or Alexander Ostrovsky in “The Thunderstorm” - Kabanikha). This method made it possible, from the very first appearance of the character in front of the readers, to indicate what the given hero was like. Currently, the use of this technique has been somewhat abandoned.

6. Every literary text also contains the so-called image of the author. This is either the image of the narrator or the image of the hero, a conventional image that emphasizes the non-identity of the “real” author with him. This image of the author actively takes part in everything that happens to the characters, comments on events, communicates with readers, expresses his own attitude to situations, and so on.

This is a characteristic of the literary and artistic style of speech, knowing which one can evaluate works of fiction from a completely different angle.

Literary and artistic style serves the artistic and aesthetic sphere of human activity. Artistic style is a functional style of speech that is used in fiction. A text in this style affects the imagination and feelings of the reader, conveys the thoughts and feelings of the author, uses all the richness of vocabulary, the possibilities of different styles, and is characterized by imagery, emotionality, and specificity of speech. The emotionality of an artistic style differs significantly from the emotionality of colloquial and journalistic styles. The emotionality of artistic speech performs an aesthetic function. Art style involves a preliminary selection of linguistic means; everything is used to create images language means. A distinctive feature of the artistic style of speech can be called the use of special figures of speech, the so-called artistic tropes, which add color to the narrative and the power of depicting reality. The function of the message is combined with the function of aesthetic impact, the presence of imagery, a combination of the most diverse means of language, both general linguistic and individual author's, but the basis of this style is general literary language means. Characteristic features: the presence of homogeneous members of the sentence, complex sentences; epithets, comparisons, rich vocabulary.

Substyles and genres:

1) prose (epic): fairy tale, story, story, novel, essay, short story, essay, feuilleton;

2) dramatic: tragedy, drama, comedy, farce, tragicomedy;

3) poetic (lyrics): song, ode, ballad, poem, elegy, poem: sonnet, triolet, quatrain.

Style-forming features:

1) figurative reflection of reality;

2) artistic and figurative concretization of the author’s intention (system of artistic images);

3) emotionality;

4) expressiveness, evaluativeness;

6) speech characteristics of characters (speech portraits).

General linguistic features of literary and artistic style:

1) a combination of linguistic means of all other functional styles;

2) subordination of the use of linguistic means in the system of images and the author’s intention, figurative thought;

3) fulfillment of an aesthetic function by linguistic means.

Linguistic means of artistic style:

1. Lexical means:

1) rejection of stereotyped words and expressions;

2) widespread use of words in a figurative meaning;

3) deliberate clash of different styles of vocabulary;

4) the use of vocabulary with a two-dimensional stylistic coloring;

5) the presence of emotionally charged words.

2. Phraseological means- conversational and bookish.

3. Word-forming means:

1) the use of various means and models of word formation;

4. Morphological means:

1) the use of word forms in which the category of concreteness is manifested;

2) frequency of verbs;

3) passivity of indefinite-personal forms of verbs, third-person forms;

4) insignificant use of neuter nouns compared to masculine and feminine nouns;

5) plural forms of abstract and real nouns;

6) widespread use of adjectives and adverbs.

5. Syntactic means:

1) use of the entire arsenal of syntactic means available in the language;

2) widespread use of stylistic figures.

8.Main features of conversational style.

Features of conversational style

Conversational style is a speech style that has the following characteristics:

used in conversations with familiar people in a relaxed atmosphere;

the task is to exchange impressions (communication);

the statement is usually relaxed, lively, free in the choice of words and expressions, it usually reveals the author’s attitude to the subject of speech and the interlocutor;

Characteristic linguistic means include: colloquial words and expressions, emotional and evaluative means, in particular with the suffixes - ochk-, - enk-. - ik-, - k-, - ovat-. - evat-, perfective verbs with the prefix for - with the meaning of the beginning of action, appeal;

incentive, interrogative, exclamatory sentences.

contrasts with book styles in general;

inherent function of communication;

forms a system that has its own characteristics in phonetics, phraseology, vocabulary, and syntax. For example: phraseology - escaping with the help of vodka and drugs is not fashionable these days. Vocabulary - high, hugging a computer, getting on the Internet.

Conversational speech is a functional variety literary language. It performs the functions of communication and influence. Colloquial speech serves a sphere of communication that is characterized by informality of relations between participants and ease of communication. It is used in everyday situations, family settings, at informal meetings, meetings, informal anniversaries, celebrations, friendly feasts, meetings, during confidential conversations between colleagues, a boss and a subordinate, etc.

The topics of conversation are determined by the needs of communication. They can vary from narrow everyday ones to professional, industrial, moral and ethical, philosophical, etc.

An important feature of colloquial speech is its unpreparedness and spontaneity (Latin spontaneus - spontaneous). The speaker creates, creates his speech immediately “completely”. As researchers note, linguistic conversational features are often not realized and not recorded by consciousness. Therefore, often when native speakers are presented with their own colloquial utterances for normative assessment, they evaluate them as erroneous.

The next characteristic feature of colloquial speech: - the direct nature of the speech act, that is, it is realized only with the direct participation of speakers, regardless of the form in which it is realized - dialogical or monological. The activity of the participants is confirmed by statements, replicas, interjections, and simply sounds made.

On the structure and content of spoken language, the choice of verbal and non-verbal means of communication big influence extra-linguistic (extra-linguistic) factors have an effect: the personality of the addresser (speaker) and the addressee (listener), the degree of their acquaintance and proximity, background knowledge (the general stock of knowledge of the speakers), the speech situation (the context of the utterance). For example, to the question “Well, how?” depending on the specific circumstances, the answers can be very different: “Five”, “Met”, “Got it”, “Lost”, “Unanimously”. Sometimes, instead of a verbal answer, it is enough to make a gesture with your hand, give your face the desired expression - and the interlocutor understands what your partner wanted to say. Thus, the extra-linguistic situation becomes an integral part of communication. Without knowledge of this situation, the meaning of the statement may be unclear. Gestures and facial expressions also play an important role in spoken language.

Colloquial speech is uncodified speech, the norms and rules of its functioning are not fixed in various kinds dictionaries and grammars. She is not so strict in observing the norms of literary language. It actively uses forms that are classified in dictionaries as colloquial. “The litter does not discredit them,” writes the famous linguist M.P. Panov. “The litter warns: do not call a person with whom you are in strictly official relations a darling, do not offer to shove him somewhere, do not tell him that he is lanky and sometimes grumpy. In official papers, do not use the words look, to your heart's content, away, penny. Sound advice, isn't it?"

In this regard, colloquial speech is contrasted with codified book speech. Colloquial speech, like book speech, has oral and written forms. For example, a geologist writes an article for a special magazine about mineral deposits in Siberia. He uses bookish speech in writing. The scientist gives a report on this topic at an international conference. His speech is bookish, but his form is oral. After the conference, he writes a letter to a work colleague about his impressions. Text of the letter - colloquial speech, written form.

At home, with his family, the geologist tells how he spoke at the conference, which old friends he met, what they talked about, what gifts he brought. His speech is conversational, its form is oral.

Active study of spoken language began in the 60s. XX century. They began to analyze tape and manual recordings of relaxed natural oral speech. Scientists have identified specific linguistic features of colloquial speech in phonetics, morphology, syntax, word formation, and vocabulary. For example, in the field of vocabulary, colloquial speech is characterized by a system of its own methods of nomination (naming): various types of contraction (evening - evening newspaper, motor - motor boat, enroll - in an educational institution); non-word combinations (Do you have something to write with? - pencil, pen, Give me something to cover myself with - blanket, rug, sheet); single-word derivative words with a transparent internal form (opener - can opener, rattle - motorcycle), etc. Colloquial words are highly expressive (porridge, okroshka - about confusion, jelly, sloppy - about a sluggish, characterless person).

As a means of communication, artistic speech has its own language - a system of figurative forms expressed by linguistic and extralinguistic means. Artistic speech, along with non-fiction, constitute two levels of the national language. The basis of the artistic style of speech is the literary Russian language. The word in this functional style performs a nominative-figurative function. Here is the beginning of V. Larin’s novel “Neuronal Shock”:

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

In these two sentences, the author showed not only a segment of individual human life, but also the atmosphere of the era of enormous changes associated with the revolution of 1917. The first sentence gives knowledge of the social environment, material conditions, human relations in the childhood years of the life of the father of the hero of the novel and his own roots. Simple, rude people surrounding the boy (Bindyuzhnik– the colloquial name for a port loader), the hard work that he has seen since childhood, the restlessness of orphanhood - this is what stands behind this proposal. And the next sentence includes private life in the cycle of history. Metaphorical phrases The revolutionary whirlwind blew..., dragged..., threw... they liken human life to a certain grain of sand that cannot withstand historical cataclysms, and at the same time convey the element of the general movement of those “who were nobody.” In a scientific or official business text, such imagery, such a layer of in-depth information is impossible.

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

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

“At Evdokimov’s tavern it’s alreadywere about to gather turn off the lamps when the scandal began. The scandal started like this.First everything looked nice in the hall, and even the tavern floor guard Potap told the owner that,they say, now God has had mercy - not a single broken bottle, when suddenly in the depths, in the semi-darkness, in the very core, there was a buzz, like a swarm of bees.

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

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

Artistic speech, especially poetic speech, is characterized by inversion, that is, a change in the usual word order in a sentence in order to enhance the semantic significance of a word or give the entire phrase a special stylistic coloring. An example of inversion is the famous line from A. Akhmatova’s poem “I still see Pavlovsk as hilly...” The author’s word order options are varied and subordinated to the general concept.

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

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

This sentence is perceived as an endless complaint from countless unhappy women, as a continuation of the theme of a woman’s sad lot.

In artistic speech, deviations from structural norms are also possible, due to artistic actualization, that is, the author highlighting some thought, idea, feature that is important for the meaning of the work. They can be expressed in violation of phonetic, lexical, morphological and other norms. This technique is especially often used to create a comic effect or a bright, expressive artistic image:

"Oh, Cute, - Shipov shook his head, “why do you do this?” No need. I see right through you, mon cher… Hey, Potapka, why did you forget the man on the street?? Bring him here, waking him up. Well, Mr. Student, how do you rent this tavern? It's dirty and you think I like him?... I've been to real restaurants, sir, I know.... Pure Empire, sir... But you can’t talk to people there, but here I can find out something” (Okudzhava B. The Adventures of Shilov).

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

Bibliography:

1. Azarova, E.V. Russian language: Textbook. allowance / E.V. Azarova, M.N. Nikonova. – Omsk: Omsk State Technical University Publishing House, 2005. – 80 p.

2. Golub, I.B. Russian language and speech culture: Textbook. allowance / I.B. Blue – M.: Logos, 2002. – 432 p.

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

4. Nikonova, M.N. Russian language and culture of speech: A textbook for non-philological students / M.N. Nikonova. – Omsk: Omsk State Technical University Publishing House, 2003. – 80 p.

5. Russian language and speech culture: Textbook. / edited by prof. IN AND. Maksimova. – M.: Gardariki, 2008. – 408 p.

6. Russian language and speech culture: Textbook for technical universities / ed. IN AND. Maksimova, A.V. Golubeva. – M.: Higher Education, 2008. – 356 p.

Introduction

1. Literary and artistic style

2. Imagery as a unit of figurativeness and expressiveness

3. Vocabulary with subject meaning as the basis for visualization

Conclusion

Literature

Introduction

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

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

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

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

1. Literary and artistic style

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

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

The main goal of the literary and artistic style is to master the world according to the laws of beauty, satisfy the aesthetic needs of both the author of a work of art and the reader, and have an aesthetic impact on the reader with the help of artistic images.

Used in literary works of various kinds and genres: stories, tales, novels, poems, poems, tragedies, comedies, etc.

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

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

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

The breadth of literary speech covering the means of the national language is so great that it allows us to affirm the idea of the fundamental potential possibility of including all existing linguistic means (though connected in a certain way) into the style of fiction.

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

2. Imagery as a unit of figurativeness and expressiveness

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

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

In the work of N.A. Lukyanova “On semantics and types of expressive lexical units” contains whole line judgments about lexical imagery that we completely share. Here are some of them (in our formulation):

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

2. Imagery can be motivated or unmotivated.

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

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

b) sound associations – (burn, grunt);

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

4. The linguistic basis of unmotivated imagery is created due to a number of factors: obscurity of the internal form of the word, individual figurative ideas, etc.

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

Imagery is “figurativeness and expressiveness,” that is, the functions of a linguistic unit in speech with the peculiarities of its structural organization and a certain environment, which reflects precisely the plane of expression.

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

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

This sentence is perceived as an endless complaint from countless unhappy women, as a continuation of the theme of a woman’s sad lot.

In artistic speech, deviations from structural norms are also possible, due to artistic actualization, i.e. the author highlighting some thought, idea, feature that is important for the meaning of the work. They can be expressed in violation of phonetic, lexical, morphological and other norms. This technique is especially often used to create a comic effect or a bright, expressive artistic image:

“Oh, dear,” Shipov shook his head, “why do you do this? No need. I see right through you, mon cher... Hey, Potapka, why did you forget the man on the street? Bring him here, waking him up. Well, Mr. Student, how do you rent this tavern? It's dirty. Do you think I’ll like him?.. I’ve been to real restaurants, I know.. Pure Empire style... But you can’t talk to people there, but here I can learn something.”

The speech of the main character characterizes him very clearly: not too educated, but ambitious, wanting to give the impression of a gentleman, a gentleman, Shipov uses elementary French words (mon cher) along with the colloquial waking, ndrav, here, which do not correspond not only to literary, but also to colloquial normal. But all these deviations in the text serve the law of artistic necessity.

Among the stylistic resources of syntax, which have long been traditionally identified, are the means of the so-called poetic syntax:

Anaphora - unity of beginning, repetition of a certain word or individual sounds at the beginning of several stanzas, verses or hemistiches.

You're miserable too

You are also abundant

You're downtrodden

You are omnipotent

Mother Rus'!…

· epiphora - a stylistic figure - repetition of the same word at the end of adjacent segments of speech, one of the varieties of parallel syntactic constructions.

Dear friend, and in this quiet house

The fever hits me.

I can't find a place in a quiet house

Near the peaceful fire!

Parallelism is a compositional technique that emphasizes the structural connection of two (usually) or three elements of style in a work of art; the connection between these elements is that they are located in parallel in two or three adjacent phrases, poems, stanzas, due to which their commonality is revealed.

The light wind subsides,

The gray evening is coming

The raven sank to the pine tree,

Touched a sleepy string.

Antithesis is a stylistic figure of contrast, a sharp opposition of concepts, positions, images, states, etc. in artistic or oratory speech.

I am a king, I am a slave, I am a worm, I am a god.

An oxymoron is a stylistic figure, a combination of words with contrasting meanings that create a new concept or idea.

Look, she has fun being sad

So elegantly naked.

Non-union (asyndeton) is a stylistic device in which there are no (omitted) conjunctions connecting words and sentences in phrases, as a result of which speech becomes more concise and compact.

Swede, Russian stabs, chops, cuts,

Drumming, clicks, grinding.

Polyconjunction (polysyndeton) is a construction of a phrase in which all or almost all homogeneous members of the sentence are connected to each other by the same conjunction, while usually in this case only the last two homogeneous members of the sentence are connected.

Oh! Summer is red! I would love you

If only it weren't for the heat, the dust, the mosquitoes, and the flies...

Inversion is the arrangement of words in a sentence or phrase in a different order than established by the rules of grammar; With a successful inversion, the sharply changing intonation gives the verse greater expressiveness.

Rosehip flower in a crevice.

Between the clouds of the moon there is a transparent shuttle...

rhetorical question that does not require an answer, but has lyrical-emotional meaning.

Familiar clouds!

How do you live?

Who do you intend

Threaten today?

a rhetorical exclamation that plays the same role of enhancing emotional perception.

What a summer, what a summer!

Yes, it's just witchcraft.

A rhetorical appeal designed for the same effect, especially in cases where interrogative intonation is combined with exclamation.

My winds, winds, you are violent winds!

And, devoted to new passions,

I couldn’t stop loving him;

But Russia was coming. There walked a foundry worker, a plowman,

The stylistic effect of silence sometimes consists in the fact that speech interrupted in excitement is supplemented by an implied expressive gesture.

Conclusion

Functional styles determine the stylistic flexibility of language, diverse possibilities of expression, and variation of thought. Thanks to them, the language is capable of expressing both complex scientific thought and philosophical wisdom; it can outline laws and reflect the multifaceted life of the people in an epic.

Each functional style is a special influential sphere of the literary language, characterized by its own range of topics, its own set of speech genres, specific vocabulary and phraseology.

Linguists have still not found agreement and unity in understanding the essence of the style of fiction, its place in the system of styles of literary speech. Some put the “style of fiction” in parallel with other stylistic varieties of literary speech, others consider it a phenomenon of a different, more complex order. But all scientists recognize that the concept of “style” when applied to the language of fiction is filled with a different content than in relation to other functional styles of the Russian language.

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

Glossary
Style is a set of characteristics, traits that create a holistic image of art of a certain time, direction, individual manner of the artist in relation to ideological content and artistic form

Update- an action consisting in retrieving learned material from long-term or short-term memory for the purpose of its subsequent use in recognition, recollection, recollection or direct reproduction.

Genre- general concept, reflecting the most essential properties and connections of phenomena in the world of art, the totality of formal and substantive features of the work.

Speech science- a new, still emerging area of meaning, otherwise, the linguistics of speech

Synonymy- this is a type of inter-lexical system relationship that is established between lexemes that coincide in one or more lexical meanings

Fiction style- functional style of speech, which is used in fiction. Artistic style affects the imagination and feelings of the reader, conveys the thoughts and feelings of the author, uses all the wealth of vocabulary, the possibilities of different styles, is characterized by imagery and emotionality of speech.

Functional language style- a historically established system of speech means used in one or another sphere of human communication

Bibliography

1. Akhmatova A. A. Tsarskoye Selo statue, Collected works in six volumes, Ellis Luck, Moscow, 1998-2005.
2. Balmont. K. D. Complete collection of poems. Volume one. Fourth edition - M.: Publishing house. Scorpio, 1914

3. Bondarev. Yu Game. Publishing house "Voice" - 1985
4. Block. A. Dear friend, and in this quiet house, Eksmo Publishing House, 2005.
5. Biryukov F. G. Artistic discoveries of Mikhail Sholokhov. – M.: Sovremennik, 1980.
6. Barlas L.G. Russian language. Stylistics; genres of artistic style, M.: Education, 1978.
7. Vinogradov V.V. About the language of fiction. M.: Goslitizdat, 1959.
8. Golub I.B. Stylistics of the Russian language. M.: 1997.

9. Derzhavin G. R. Bog, Publishing House; Leningrad, 1967.
10. Yesenin.S.A. Verbal rivers boil and rustle. - L.: Lenizdat, 1965 11 . 11. Kozhina M.N. Stylistics of the Russian language. Enlightenment, Moscow, 1977.12. Lermontov M.Yu. Poems and poems. Collected works in six volumes. Moscow-Leningrad-1961.

13.Leonov.E. Collection of poems.
17. Okudzhava B. Shipov’s adventures. Publisher: "Soviet Writer", Moscow, 1975.
14. Nekrasov. N.A. Collected works. Petersburg Collection-1856.
13. Prishvin. MM. Diaries - 1926-27. Collected works in 8 volumes, Moscow, 1983.
22. Prishvin M.M. Collected works in 8 volumes, Moscow, 1983.
23. Pushkin A.S. Complete works: in 17 T. – M., 1937.
24. Pushkin A.S. Collected works in 10 volumes, T – M., Sunday, 1994.
25. Pushkin A.S. Collected works in ten volumes. Volume three. M., Sunday - 1994

26. Rosenthal D.E. Practical stylistics of the Russian language. M.: 1997. 27. Rasputin V. / Farewell to Matera. Publishing house "Young Guard", Moscow, 1980.
28. Svetlov. M.A. Collected Works, Fiction, 1975
29. Tolstoy A.K. Works in 2 volumes - M.: Fiction, 1981.
30.Tyutchev F.I. Complete collection of poems. Publishing house; Leningrad branch, -1987.
31. Tyutchev F.I. Complete collection of works and letters in six volumes. - M.: Publishing Center “Classics”, 2003.
32. Sholokhov M.A. Quiet Don. Publishing house "Young Guard", M., 1980
33. Internet source: http://esenin.niv.ru/esenin/text/stihi/1919/1919-3.htm.

Linguistic means of fiction style

2.3.1 Lexical features of the style of fiction
The lexical composition and functioning of words in the artistic style of speech have their own characteristics. The number of words that form the basis and create the imagery of this style includes, first of all, figurative means of the Russian literary language, as well as words that realize their meaning in the context. These are words with a wide range of usage. Highly specialized words are used to a small extent, only to create artistic authenticity when describing certain aspects of life.

In the artistic style of speech, the verbal ambiguity of a word is very widely used, which opens up additional meanings and shades of meaning, as well as synonymy at all linguistic levels, thanks to which it becomes possible to emphasize the subtlest shades of meaning. This is explained by the fact that the author strives to use all the riches of the language, to create his own unique language and style, to create a bright, expressive, figurative text. The author uses not only the vocabulary of the codified literary language, but also a variety of figurative means from colloquial speech and vernacular.

The emotionality and expressiveness of the image come to the fore in a literary text. Many words that in scientific speech appear as clearly defined abstract concepts, in newspaper and journalistic speech - as socially generalized concepts, in artistic speech - as concrete sensory representations. Thus, the styles functionally complement each other. Artistic speech, especially poetic speech, is characterized by inversion, that is, a change in the usual word order in a sentence in order to enhance the semantic significance of a word or give the entire phrase a special stylistic coloring. An example of inversion is the famous line from A. Akhmatova’s poem “I still see Pavlovsk as hilly...”. The author's word order options are varied and subordinate to the general concept.

In terms of diversity, richness and expressive capabilities of linguistic means, the artistic style stands above other styles and is the most complete expression of the literary language.

Linguistic features of the artistic style of speech.

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

The feather grass has matured. The steppe for many miles was dressed in swaying silver. The wind took it elastically, flowing, roughened, bumped, and drove bluish-opal waves to the south, then to the west. Where the flowing air stream ran, the feather grass bowed prayerfully, and a blackened path lay for a long time on its gray ridge.(M.A. Sholokhov)

2. Use of all layers of Russian vocabulary in order to realize the aesthetic function.

Daria hesitated for a minute and refused:

- No, no, I'm alone. I'm there alone.

She didn’t even know where “there” was and, leaving the gate, headed towards the Angara.(V. Rasputin)

3. Activity of polysemantic words of all stylistic varieties of speech.

The river is seething in a lace of white foam.

Poppies are blooming red on the velvet meadows.

At dawn frost was born.(M. Prishvin).

4. Combinatorial increments of meaning (B. Larin).

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

I dreamed of catching the passing shadows,

The fading shadows of the fading day.

I climbed the tower. And the steps shook.

And the steps trembled under my feet.(K. Balmont) [2]

5. Greater preference for using concrete vocabulary and less preference for abstract vocabulary.

Sergei pushed heavy door. The porch step whimpered barely audibly under his foot. Two more steps - and he is already in the garden.

The cool evening air was filled with an intoxicating aroma blooming acacia. Somewhere in the branches a nightingale trilled iridescently and subtly.

6. Minimum of generic concepts.

Horses chew grain. The peasants were preparing “morning food”, “the birds were noisy”... In the artist’s poetic prose, which requires visible clarity, there should be no generic concepts, unless this is dictated by the very semantic task of the content... Oats are better than grain. Rooks are more appropriate than birds.(Konstantin Fedin)

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

The rosehip, probably, had been creeping up the trunk to the young aspen since spring, and now, when the time had come for the aspen to celebrate its name day, it all burst into red, fragrant wild roses. [ 22]

8. Verb speech science.

The writer names each movement (physical and/or mental) and change of state in stages. Pumping up verbs activates reading tension.

Grigory went down to the Don, carefully climbed over the fence of the Astakhovsky base, and approached the window covered with shutters. He heard only the frequent beats of his heart... He quietly knocked on the frame binding... Aksinya silently went to the window and peered. He saw her press her hands to her chest and heard her inarticulate moan escape her lips. Grigory motioned for her to open the window and took off his rifle.(M.A. Sholokhov “Quiet Don”) [32]

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

The artistic style of speech is characterized by imagery and extensive use of figurative and expressive means of language. In addition to its typical linguistic means, it uses means of all other styles, especially colloquial. In the language of artistic literature, colloquialisms and dialectisms, words of a high, poetic style, slang, rude words, professional business figures of speech, and journalism can be used. However, all these means in the artistic style of speech are subordinate to its main function - aesthetic.

If the colloquial style of speech primarily performs the function of communication (communicative), scientific and official business function of message (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 and are subordinate to the objectives of a given artistic style.

In literature, language occupies a special position, since it is that building material, that matter perceived by hearing or sight, without which a work cannot be created. An artist of words - a poet, a writer - finds, in the words of L. Tolstoy, “the only necessary placement the right words”, in order to correctly, accurately, figuratively express a thought, convey a plot, character, make the reader empathize with the heroes of the work, and enter the world created by the author.

All this is accessible only to the language of fiction, which is why it has always been considered the pinnacle of literary language. The best in language, its strongest capabilities and rarest beauty are in works of fiction, and all this is achieved artistic means language.

The means of artistic expression are varied and numerous. You are already familiar with many of them. These are tropes such as epithets, comparisons, metaphors, hyperboles, etc.

Tropes are a figure of speech in which a word or expression is used in figurative meaning in order to achieve greater artistic expression. The trope is based on a comparison of two concepts that seem close to our consciousness in some respect. The most common types of tropes are allegory, hyperbole, irony, litotes, metaphor, metomy, personification, periphrasis, synecdoche, comparison, epithet.

For example: What are you howling about, night wind, what are you madly complaining about?- personification. All flags will visit us- synecdoche. A man the size of a nail, a boy the size of a finger– litotes. Well, eat a plate, my dear– metonymy, etc.

The expressive means of language also include stylistic figures of speech or simply 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.

2.4.2 Morphological features of artistic style
literature
In artistic speech, such types of words, forms and constructions are used in which the category of concreteness is manifested. According to M.N. Kozhina, abstract and concrete speech forms in scientific speech account for 76% and 24%, in artistic speech - 30% and 70% - as we see, the data is diametrically opposite.

In the style of fiction, all facial forms and all personal pronouns are used; the latter usually indicate a face or specific item, and not either abstract concepts, as in scientific style. The figurative uses of words are also activated here as the most specific. In artistic speech, there are three times fewer indefinite-personal forms of the verb, as more generalized, than in scientific speech, and nine times less than in official business speech.

In the style of fiction, a low frequency of the use of neuter words with an abstract meaning and a high frequency of specific masculine and feminine nouns are observed. Abstract words acquire a concrete figurative meaning (as a result of metaphorization). The inherent dynamics of artistic speech (in contrast to the static characteristics of scientific and official business speech) is manifested in the high frequency of use of verbs: it is known that their frequency is almost two times higher than in scientific speech, and three times higher than in official business speech. Here, for example, is a fragment of the text of the novel by Yu. Bondarev "Game" ": "He cut down a Christmas tree in the forest, brought it along with the metal spirit of snow, completely covered with snow, and Olga began to decorate it with garlands cut from the remains of wallpaper, but he interfered with her, stomped behind, made jokes, advised, saw her tilted, smoothly combed head, a tight knot of hair at the back of her head and every now and then he took her by the shoulders and turned her towards him.”

The language of fiction also has many “non-literary” uses, that is, in some cases, the language of fiction may go beyond the norms of a literary language. This is manifested primarily in the fact that within the framework of a work of art, the writer has the right to use forms that do not exist in the modern Russian literary language and have not existed in its history. For example:

Come, I beg you, come!

Otherwise, an airplane will arrive,

So that it doesn't bother us

Some kind of ice.

Thus, the author of a work of art can also use the potential capabilities of language, creating neologisms (in the broad sense). Going beyond the literary language, artistic speech can include (within certain limits) dialectisms: “From the village of Novoye Ramenye to the repair through the cattle was considered fifteen kilometers; Among the moss hummocks, near the hollows overgrown with sedge, there are dug-in posts; On the very outskirts of Korshunov, not far from the highway, there is a pine tree on a sandy hillside.” (I. Tendryakov), jargon : “You, Styopa, are a fraer pure water like a tear; When such a haza is exposed, they lead to action...; Don't shake your nerves; And for Yakov Shurshikov, a person’s life is to spit and forget, to strike with a pen, amba and sha.” (N. Leonov), professionalism and other extra-literary elements.

The use of linguistic means in fiction is ultimately subordinated to the author's intention, the content of the work, the creation of an image and the impact through it on the addressee. Writers in their works proceed, first of all, from accurately conveying thoughts and feelings, truthfully revealing the spiritual world of the hero, and realistically recreating language and image. The author’s intention and the desire for artistic truth are not subject to

only normative facts of language, but also deviations from general literary norms. “The language of fiction” with its characteristic “orientation to expression,” emphasized V.V. Vinogradov, “has legal right for deformation, for violation of general literary norms.” However, any deviation from the norm must be justified by the author’s goal setting, the context of the work; the use of one or another linguistic device in fiction must be aesthetically motivated. If linguistic elements located outside the literary language perform a certain functional load, their use in the verbal fabric of a work of art can be justified.

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

2.4.3 Syntactic features of the style of fiction
The syntactic structure of artistic speech reflects the flow of figurative and emotional impressions of the author, so here you can find a whole variety of syntactic structures. Each author subordinates linguistic means to the fulfillment of his ideological and aesthetic tasks. Thus, L. Petrushevskaya, in order to show the unsettledness and “troubles” of the family life of the heroine of the story “Poetry in Life,” includes several simple and complex sentences in one sentence:

“In Mila’s story, then everything went downhill, Mila’s husband in the new two-room apartment no longer protected Mila from her mother, her mother lived separately, and there was no telephone either here or here - Mila’s husband became his own man and Iago and Othello and with I watched with mockery from around the corner as Mila was accosted on the street by men of his type, builders, prospectors, poets, who did not know how heavy this burden was, how unbearable life was if you fought alone, since beauty in life is not an assistant, so It would be roughly possible to translate those obscene, desperate monologues that the former agronomist, and now a research fellow, Mila’s husband, shouted on the streets at night, and in his apartment, and when drunk, so that Mila was hiding with her young daughter somewhere, found shelter, and the unfortunate husband beat furniture and threw iron pans.”