Means of speech expressiveness. Allegory, irony, hyperbole

In a work of art, mainly in poetry, various methods are used to enhance the phonetic expressiveness of speech. One of the main visual means of phonetics is a stylistic device, consisting in the selection of words of similar sound:

Peter is feasting. And proud and clear

And his eyes are full of glory.

And his royal feast is beautiful.

(A.S. Pushkin)

The consonants [p], [p], [r], and the vowels [o], [a] are repeated here. This makes the verse musical and vivid.

Depending on the quality of the repeated sounds, alliteration and assonance are distinguished.

Alliteration called the repetition of consonants:

I am a free wind, I always blow

I wave the waves, I caress the willows,

In the branches I sigh, sighing, dumb,

I cherish the grass, I cherish the fields.

(K.D. Balmont)

The repetition of consonant sounds [l], [l '], [c], [c '] creates an image of the wind, the breath of which is felt almost physically.

A.S. perfectly mastered this technique. Pushkin. In the novel "Eugene Onegin" he gives a description of two ballroom dances:

The mazurka rang out. used to

When the mazurka thundered,

Everything in the great hall was trembling,

Parquet cracked with iodine heels,

The frames shook and rattled;

Now it's not that: and we are like ladies,

We slide on varnished boards.

The selection of consonant sounds gives the reader a clear idea of the difference between the Thais: the accumulation of sounds [g], [p], [h], [g] when describing the first dance evokes a feeling of its swiftness, energy; the smoothness, slowness of the second dance is emphasized by the abundance of sounds [l], [m].

Assonance called the repetition of vowels. Assonance is usually based only on stressed vowels, since in an unstressed position the vowels are reduced:

Whisper, timid breath, [oh-oh-ah]

The nightingale trills, [uh]

Silver and wobble [oh-ah]

Sleepy stream, [ooh]

Light of the night, night shadows, [uh-uh]

Shadows without end, [uh]

A series of magical changes [uh]

Sweet face, [uh]

In smoky clouds the purple of a rose,

Glimpse of amber, [ooh]

And kisses and tears, [a-o]

And dawn, dawn! ... [a-a].

I fly quickly, but on cast-iron rails I think of my own thoughts.

(N.A. Nekrasov)

The sound [y] is repeated, giving the impression of a humming rushing train.

In the poetic texts below, assonance is combined with alliteration, which creates a special musicality of poetic lines:

But in the atonement of a long punishment,

Having suffered the blows of fate,

Strengthened Russia. So heavy mlat

Crushing glass, forging damask steel.

(A.S. Pushkin)

Quiet Ukrainian night. transparent sky,

The stars are shining.

The air does not want to overcome its drowsiness.

(A.S. Pushkin)

Melo, melo but the whole earth,

To all limits.

The candle burned on the table

The candle was burning.

(B.L. Pasternak)

Another method of sound writing (correspondence of the phonetic composition of the phrase to the depicted picture) is onomatopoeia- the use of words that, by their sound, resemble the auditory impressions of this phenomenon.

For more than two centuries, the lines of A.P. Sumarokov, where the croaking of frogs is depicted as follows:

Oh how, oh how we come to you, Gods do not say!

There are words that, when pronounced, resemble the actions they call: rustle, hiss, strum, snort, clatter, tick etc. The sound of such words in artistic speech is enhanced by their phonetic environment:

Here comes the rain falling down.

(A. Tvardovsky)

The repetition of consonance [kr] resembles the tapping of raindrops on an iron roof.

In a proverb: From the clatter of hooves, dust flies across the field- the phonetic expressiveness of the main onomatopoeic word "toyota" is enhanced by the alliteration [t-p].

Rhyme - a striking feature of the verse is also based on the phonetic capabilities of the Russian phonetic system - on sound repetitions:

Mountain tops Sleep in the darkness of the night.

Quiet valleys Full of fresh haze.

(M.Yu. Lermontov)

The fields are compressed, the groves are bare,

Fog and dampness from water,

The quiet sun rolled down behind the blue of the mountain.

(S.A. Yesenin)

A storm covers the sky with mist,

Whirlwinds of snow twisting;

Like a beast, she will howl

It will cry like a child.

(A.S. Pushkin)

An important means of organizing poetic speech is stress, it rhythmically organizes a poem. Promotes

phonetic expressiveness of speech rhythm and intonation. Rhythm is a certain way of dividing speech, contributing to balance and euphony. With its help, a certain mood is created, the emotional and expressive properties of the text are emphasized. All types of phonetic means of speech expressiveness allow not only to fully present the melodic essence of poetic speech, but also to reveal the meaning of the work.

test questions

1. What is called alliteration?
2. What is called assonance?
3. What is onomatopoeia?
4. What is rhyme?

Workshop

Task 1. Select assonance, alliteration. Explain phonetic means of speech expressiveness.

Ottol broke once a collapse,

And fell with a heavy crash

And blocked the whole gorge between the rocks,

And the mighty wave of the Terek stopped...

Introduction

Phonetics- the science of the sound side of human speech. The word "phonetics" comes from the Greek. phonetikos "sound, voice" (phone sound).

Without the pronunciation and perception by ear of the sounds that make up the sound shell of words, verbal communication is impossible. On the other hand, for verbal communication, it is extremely important to distinguish the spoken word from others that are similar in sound.

Therefore, in the phonetic system of the language, means are needed that serve to convey and distinguish between significant units of speech - words, their forms, phrases and sentences.

Phonetic means of the Russian language

The phonetic means of the Russian language include:

- sounds
- stress (verbal and phrasal)
- intonation.

The shortest, minimal, non-segmented sound unit that stands out during the successive sound division of a word is called sound speeches.

Speech sounds have different qualities and therefore serve in the language as a means for distinguishing words. Often words differ in only one sound, the presence of an extra sound compared to another word, the order of the sounds.

For example: jackdaw - pebble,

fight - howl,

mouth - mole,

nose - dream.

The traditional classification of speech sounds is their division into consonants and vowels.

Consonants differ from vowels in the presence of noises that are formed in the oral cavity during pronunciation.

The consonants are different:

1) by the participation of noise and voice,
2) at the place of noise generation,
3) according to the method of noise generation,
4) by the absence or presence of softness.

Participation of noise and voice. According to the participation of noise and voice, consonants are divided into noisy and sonorous. Sonorants are called consonants formed with the help of voice and slight noise: [m], [m "], [n], [n"], [l], [l "], [p], [p"]. Noisy consonants are divided into voiced and deaf. Noisy voiced consonants are [b], [b "], [c], [c"], [g], [g "], [d], [d "], [g], ["], [s ], [h "], , formed by noise with the participation of the voice. Noisy deaf consonants include: [p], [p "], [f], [f"], [k], [k "], [t], [t"], [s], [s"] , [w], ["], [x], [x"], [c], [h "], formed only with the help of one noise, without the participation of the voice.

The location of the noise. Depending on which active organ of speech (lower lip or tongue) dominates in the formation of sound, consonants are divided into labial and lingual. If we take into account the passive organ in relation to which the lip or tongue articulates, the consonants can be labial [b], [n] [m] and labiodental [c], [f]. Lingual are divided into front-lingual, middle-lingual and back-lingual. Anterior-lingual can be dental [t], [d], [s], [h], [c], [n], [l] and palatine-tooth [h], [w], [g], [p] ; middle-lingual - middle-palatal; posterior lingual - posterior palate [g], [k], [x].

Noise generation methods

Depending on the difference in the methods of noise formation, consonants are divided into occlusive [b], [n], [d], [t], [g], [k], fricative [c], [f], [s], [h ], [w], [g], [x], affricates [c], [h], stop-pass: nasal [n], [m], lateral, or oral, [l] and trembling (vibrants) [ R].

Hardness and softness of consonants. The absence or presence of softness (palatalization) determines the hardness and softness of consonants. Palatalization (lat. palatum - hard palate) is the result of the midpalatal articulation of the tongue, which complements the main articulation of the consonant sound. Sounds formed with such additional articulation are called soft, and those formed without it are called hard.

A characteristic feature of the consonant system is the presence of pairs of sounds in it, correlative in deafness-voicedness and in hardness-softness. The correlation of paired sounds lies in the fact that in some phonetic conditions (before vowels) they differ as two different sounds, and in other conditions (at the end of a word) they do not differ and coincide in their sound.

For example: rose - dew and rose - grew [grew - grew].

So the paired consonants [b] - [p], [c] - [f], [d] - [t], [h] - [s], [g] - [w], [g] - [k], which, therefore, form correlative pairs of consonants in deafness-voicedness.

The correlative series of deaf and voiced consonants is represented by 12 pairs of sounds. Paired consonants are distinguished by the presence of a voice (voiced) or its absence (deaf). Sounds [l], [l "], [m], [m"], [n], [n "], [r], [r "] - unpaired voiced, [x], [c], [h "] - unpaired deaf.

The classification of Russian consonants is presented in the table:

The composition of consonant sounds, taking into account the deafness-voicedness correlation, is shown in the following table

(["], ["] - long hissing, paired in deafness-voicedness; compare [dro" and], ["and]).

The hardness and softness of consonants, like deafness-voicedness, differ in some positions, but do not differ in others, which leads to the presence in the consonant system of a correlative series of hard and soft sounds. So, [l] - [l "] are distinguished before the vowel [o] (cf .: lot - ice [lot - l "from], and before the sound [e] not only [l] - [l"], but also other paired hard-soft sounds (cf .: [l "eu], [c" eu], [b" eu], etc.).

 What does phonetics study? A sound is the smallest unit that is spoken or heard. The sound does not have an independent meaning, but with the help of sounds one can distinguish the words: lamp-ramp, house - catfish, ox - led.  What was the name of this role of sounds in the Russian language? What are the groups of speech sounds? Vowel sounds are formed by an air stream that passes through the mouth and does not encounter any obstacles. They are made up of tone. In Russian, there are 6 vowel sounds occurring under stress, this is [a o i y u e]. Consonant sounds are formed when there is no free passage for the air stream in the oral cavity. The tongue may touch the teeth or the palate, the lips may close. The air stream has to overcome these obstacles, and then consonants are formed. There are quite a lot of them in the Russian language: they are hard and soft, voiced and deaf, some of them form pairs.  Is it possible to give expression to a phrase by using sounds in a phrase? Words are created with sounds. Sounds, if they are not words (conjunctions, prepositions, particles, interjections), mean nothing, have no meaning. However, sometimes the meaning of a word is assigned to a separate sound included in this word. Let's give an example with the sound [p], which is included in the words "thunder, rumble, thunderstorm, peals, roar." The listed words have long been used by word artists to convey the natural phenomena corresponding to them. So, the poet Tyutchev in the poem "Spring Thunderstorm" deliberately includes words containing this sound: I love a thunderstorm in early May, When the first spring thunder, As if frolicking and playing, Rumbles in the blue sky. Thunder rumbles ... Our feelings are affected not only by the words and the meaning of the statement, but also by the very sound of the speech. To enhance the impression, poets often choose for their poems such a sound range that emphasizes poetic images. G. Lindman-Orlova  What is the name of the method of using repeated sounds in speech? In artistic speech, sound writing is used, that is, the correspondence of the phonetic composition of the phrase to the depicted phenomenon. Such types of sound recording as sound repetitions and onomatopoeia are used. alliteration, i.e., the repetition of identical or similar consonants, for example: Midnight sometimes In the swamp wilderness Barely audible, noiselessly Rustling reeds (K. Balmont.) [w] creates a sound impression of rustling reeds;  assonance - the repetition of the same vowels, for example: I while away my life. My crazy, deaf: today I soberly triumph, and tomorrow I cry and sing (A. Block.) - the repetition of the vowel [y] creates an oppressive, depressing impression; Quiet Ukrainian night. The sky is transparent. The stars are shining. The air does not want to overcome its drowsiness (A. Pushkin.) - [a], [o] sound open and joyful; anaphora - a repetition of the same initial combinations of sounds, for example: Bridges demolished by a thunderstorm, coffins from a washed-out cemetery are floating through the streets! (A. Pushkin.); The golden stars dozed off, The mirror of the backwater trembled. (S. Yesenin.);  epiphora - the repetition of final sounds in words, for example: In the blue evening, in the moonlit evening, I was once beautiful and young (S. Yesenin.);  junction - a repetition of the final and initial sounds of adjacent words, for example: A cloak flaunting a hole (M. Tsvetaeva.).  is the use of words of a certain sound to create auditory impressions - rustling, clattering, strumming, rattling, chirping, etc. (L. Tolstoy.) - quiet muffled sounds are transmitted with the sound [w];   Parterre and chairs, everything is in full swing. They splash impatiently in paradise, and, having risen, the curtain makes noise (A. Pushkin.) - the repetition of sounds [r], [p] conveys the increasing noise in the theater before the start of the performance, and the repetition of sounds [h], [w], [s] creates the auditory impression of a curtain rising. Among onomatopoeias, onomatopoeias stand out, that is, words that, by their sound, resemble the processes they denote.  They call the sounds made by a person, animal, inanimate nature, for example: gasp, giggle, groan; chirp, meow, hiss, cackle, crow, creak, rustle, clatter, tick, strum, rattle; strum (on the balalaika), crunch (of brushwood).   Sound-like words are also used that do not imitate sounds, but with their expressiveness in sound they help to figuratively convey phenomena, for example: fight, rudely, scream, tear - are pronounced sharply; maiden, cling, darling, bliss - are pronounced softly; quieter, you hear - the pronunciation resembles a rustle.  Read the excerpts from the poems. Find in them different types of sound repetitions and onomatopoeia. The area of rhymes is my element And I easily write poetry. Without hesitation, without delay, I run to the line from the line Even to the Finnish brown rocks I treat with a pun. (D. Minaev.) It seems that the ears are whispering to each other It's boring for us to listen to the autumn blizzard It's boring to bend down to the very ground Fat grains bathing in dust! (N. Nekrasov.)  The city was robbing the rowing robbing...  ...Where is he, the ringing of bronze or the edge of granite? .. (V. Mayakovsky.)  Theory  309 (z.1) or 309 (z.2) - all on A4 with illustration or design  http://do.gendocs.ru/  http://images. yandex.ru/

4. Phonetic means of expression

Phonetic means of expression - means of language, the sound of which allows you to evoke certain associations - sound, visual, etc. - thereby creating a strong, memorable image and more fully conveying the meaning of the statement. Phonics, sound writing, sound instrumentation is a general term used to name various types of such means, which include

1. Onomatopoeia (sound figurativeness, onomatopoeia) - the use of various units of language in order to reproduce the sounds of the surrounding reality. Some words themselves have onomatopoeic properties: grunt, rattle, rustle, squeak. Onomatopoeia is used in many folklore, game texts, in particular tongue twisters: From the clatter of hooves, dust flies across the field. Quite often you can find onomatopoeia in works of art. So, in one of the fables, A. Sumarokov reproduces the croaking of frogs using naturalistic onomatopoeia: About how, about how we should not speak to you, gods! The same technique was used by F. Tyutchev in the poem "Thunderstorm":

I love the storm in early May,
When spring, the first thunder
As if frolicking and playing,
Rumbles in the blue sky.

and the lines of P. Antokolsky, conveying the clatter of wheels characteristic of a train: The joints were tapping: to the east, east, east ...

2. Sound repetitions, the particular manifestations of which include the following means:

Alliteration is a pictorial repetition of consonant sounds, and in a broader sense, any sound repetition. Alliteration is not necessarily associated with onomatopoeia, it often aims to give speech euphony. It is no coincidence that this is one of the most characteristic techniques for poetry. For example:

Elegant stroller with electric beat
It rustled elastically on the highway sand.

I. Severyanin

Assonance is a pictorial repetition of vowel sounds, usually percussion. For example, the repeated vowel [y] in the lines of N. Nekrasov:

I quickly fly along cast-iron rails,
I think my mind.

In a poetic text, assonance and alliteration often accompany (complement) each other:

Elderberry flooded the whole garden!
Elderberry is green, green!

M. Tsvetaeva

Sound anaphora - a uniform beginning of a certain number of rhythmically or syntactically correlated fragments, built on the repetition of one sound (or a group of sounds):

Storm-blown bridges
A coffin from a blurry cemetery.

A. Pushkin

Obviously, sound anaphora is always present in other types of anaphora (if words, syntactic units are repeated, then their sound is repeated) and tautograms - game texts, all words of which begin with one letter. The latter are common in children's folklore: Four black, grimy little imps drew a drawing in black ink extremely cleanly., but in poetry as a separate stylistic device they are rarely used due to their obsession.

Sound epiphora - repetitions of sounds at the end of individual fragments of text or at the end of closely spaced words: A thing and a beggar. Connection? No, discord- M. Tsvetaeva. Sound epiphora, respectively, is an integral part of other types of epiphora - morphemic, grammatical, lexical. Rhyme is a special case of sound epiphora:

And new waves
At an unknown hour
All new waves
They got up for us.
Noisy, sparkling
And dragged to the distance
And drove sorrows
And they sang away...

K. Balmont

Anagram - a word (or a series of words) formed by rearranging letters or sounds that make up another word or a separate piece of text: “In anagrams, a horsefly turns into mold, pollock into a mercenary, an anaconda crawls out of a cannonade, a spaniel jumps out of an orange, and a weather forecaster influences the weather like a stoker”(M. Golubovsky). This technique is widely used in works of art, especially poetry.

All antiquities, except: give me mine too,
All jealousies, except for that earthly one,
All fidelity - but also in mortal combat
Unbelieving Thomas.

M. Tsvetaeva

Sometimes the original word, on the basis of which the anagram was created, is not called directly, but the context with its sound suggests hidden content. Yes, lines

Key, icy, blue sip.
With your name - sleep is deep.

in M. Tsvetaeva's poem "Your name is a bird in your hand ..." they anagram the surname "Blok" and thereby hint at the poet to whom they are addressed.

A special type of anagram is a palindrome - a word, phrase or text that reads the same from left to right and from right to left: A whale on the sea is a romantic.

Paronymic attraction (also paronomasia, poetic etymology, sound metaphor) is an intentional convergence of words that have a sound similarity: Minute, passing, pass!- M. Tsvetaeva. The use of this technique in some cases restores the forgotten etymological connection between words: In the grip of endless longing- V. Mayakovsky.

3. Sound symbolism (also sound symbolism, phonetic meaning, phonosemantics) - the connection between the sound and the meaning of language units, due to the ability of sounds to evoke certain auditory, visual, emotional, and other associations in the mind of the listener. The perception of the phonetic meaning of a word is especially developed among writers and poets. In the lecture “Poetry as magic”, K. Balmont, through metaphors, gave detailed characteristics of different speech sounds: “The babbling of a wave is heard in L, something wet, in love, - Buttercup, Liana, Lileya. Overflow word I love. A masterful curl separated from a wave of hair. Benevolent face in the rays of the lamp. A light-eyed, clinging caress, an enlightened look, the rustle of leaves, leaning over the cradle. A subtle interpretation of the character’s image, based on sound symbolism, is presented in V. Nabokov’s article about N. Gogol: “The surname Khlestakov itself is brilliantly invented, because in the Russian ear it creates a feeling of lightness, thoughtlessness, chatter, whistling of a thin cane, slapping on the card table, the bragging of the varmint and the daring of the conqueror of hearts ... "

In addition to the above methods, the means of phonetic expressiveness include the length of the word, the pronunciation deformation of the word, reproduced in writing by graphic means, rhythm and rhyme, enjambement (or enjambment, from the French enjambement, enjamber 'step over, step over') - a discrepancy between the intonation-phrasal and metric division of the verse:

Along the embankment, along the bridge, along
to all the soul, lined with a downpour ...

L. Aronzon

The use of phonetic expressive means is aimed not only at creating an image, but also at giving the text euphony - a special sound organization, in which the pronunciation of the text and its perception by ear is as easy as possible. The desire of the author to create a text that is harmonious in sound can be dictated by the subject of the image itself. It is known that G. Derzhavin deliberately avoided the sound [r] in the poem "The Nightingale in a Dream"

I slept high on the hill
I heard your voice, nightingale,
Even in the deepest sleep
He was intelligible to my soul:
It sounded, then it was given,
He groaned, then he smiled
He is heard from afar;
And in the arms of Calista
Songs, sighs, clicks, whistles
Enjoy sweet dreams...

in order to give the poem a sound similar to a nightingale's song, and also to show the "softness" and "ability to express the most tender feelings" inherent in the Russian language.

To convey a dramatic mood, a heavy, confused state of mind, the authors, on the contrary, can make the sound of the text difficult. An example of a deliberately created cacophony is B. Pasternak's poem "Ice drift":

And not a soul. Just one wheeze
The dreary clang and knock of a knife,
And stacking blocks
Grinding teeth…

The use of phonetic means of expression is not limited to fiction: they are widely used in journalistic and advertising texts, naming (a field of marketing that specializes in developing the names of enterprises, firms, products, etc.), as well as in live communication.

Navigation

"Each sound of speech is a small conjuring dwarf." (K. Balmont)

Lesson-research in the 7th grade “Phonetic means of expression. Sound recording".

The purpose of the lesson

to consider the features of the phonetic organization of sounding speech, to identify the semantic function of sound writing in literary texts.

Lesson objectives:

1) learning: to update the concepts of alliteration, assonance, to form the ability to determine the phonetic and intonational features of the text, the methods of its sound instrumentation.

2) development: to form research skills that recreate the creative imagination of students, emotional and figurative speech;

3) education: to cultivate love for the native language, interest in folklore, in Russian poetry, in research work.

During the classes

1. Goal setting

Guys, today I invite you to solve a “very difficult” riddle:

I don't buzz when I sit

I don't buzz when I walk

I don't buzz when I work

And I buzz when I spin.

Students. This is a beetle.

Teacher. I want to note that this “very difficult” riddle is easily solved by children 4-5 years old. Why do you think kids can do it easily?

Students. This is due to the fact that the sound Zh is repeated in the riddle, the sounds that beetles make are reproduced by selecting this sound, so both we and the kids easily imagined who it was about.

Teacher. What is the name of such a technique in the language of linguistics?

Students. This is sound recording.

Teacher. It is this brightest means of expressiveness that will be discussed in our lesson. Please state the topic.

Students. Phonetic means of expression. Sound recording.

Teacher. The epigraph of our lesson will be the words of a wonderful Russian poet of the late 19th-early. 20th century K. Balmont: "Each sound of speech is a small conjuring gnome." (Write in notebook). How do you understand the words of the poet?

Students. With the help of sounds, you can create various miracles.

Teacher. I invite you to a lesson-research. We will explore the expressive possibilities of sound writing in order to make sure the words of the poet are true, to see how masterly combination of sounds or repetition of the same sound master words help us get vivid auditory impressions, imagine the depicted phenomena, understand the thoughts and feelings of the author, as well as the nature of the lyrical hero.

2. Updating knowledge

Teacher. Any research involves the definition of the concept of research. Let's remember what sound recording is. (leading task)

Students.

1) Alliteration is the repetition of the same or similar consonants. This means of expression will help me illustrate the poem of the children's poetess A.I. Tokmakova:

Hush, hush, hush, hush

Mice are rustling on the roof.

Under the mouse gray flag

Marching step by step.

Seniors go ahead

The mouse anthem is sung:

"Hush, hush, hush, hush!"

The tables are set for mice.

The rustle of the tire subsides,

Let the mice feast at night

Hush, hush, hush, hush!

Repeat [w] depicts the rustling of mice, the rustle that they can make.

2) Assonance is the repetition of vowel sounds. I will illustrate this linguistic phenomenon by referring to A.S. Pushkin's poem "Poltava":

Quiet Ukrainian night.

The sky is transparent. The stars are shining.

Overcome your slumber

Doesn't want air.

The repetition [a] depicts the splendor, great space, depth, height, calm, peaceful breath of the Ukrainian night.

3) Onomatopoeia - the use of words that, by their sound, resemble the auditory impressions of the depicted phenomenon. I looked for examples in many dictionaries and reference books, and in each of them, A. Sumarokov's lines were cited as an example, where the croaking of frogs is depicted as follows:

Oh, how, oh, how can we not speak to you, God!

3. Student messages

Teacher. Sound writing as a means of expression attracted the attention of masters of the word for a long time. We are convinced of this by the historical background prepared by the guys:

1) Already in the 18th century, M.V. Lomonosov in "Rhetoric" proves that the poet, composing his poems, selects words not only in meaning, but also in sound: "In the Russian language, as it seems, the frequent repetition of the letter A can contribute to to the image of magnificence, the great space of depth and height; the increase in written E, I - to the image of tenderness, caress; through I you can show pleasantness, amusement, tenderness, through O, U, Y - terrible and strong things: anger, envy, pain and sadness."

2) Describing each sound of speech, K. Balmont also tries to give it a semantic load, to assign certain images to it: "Oh - the sound of delight, triumphant space is O: field, sea, space. Everything huge is determined through O, even if it is dark : groan, sorrow, sleep, midnight. Large, like valleys and mountains, an island, a lake, a cloud.

3) Speaking about the sound instrumentation of oral phrases, the Russian writer Yevgeny Zamyatin wrote: “Every sound of a human voice, every letter in itself evokes certain ideas in a person, creates sound images. I am far from attributing to each sound a strictly defined semantic or color value, however

Sound [r] - clearly tells me about something loud, bright, red, hot, fast.

[l] - about something pale, blue, cold, smooth, light.

Sound [n] - about something tender, about snow, sky, night:

The sounds [d] and [t] are about something stuffy, heavy, about fog, about darkness, about musty.

The sound [m] is about sweet, soft, about mother, about the sea.

With [a] - latitude, distance, ocean, haze, scope are associated.

C [o] - high, blue, bosom:

C [and] - close, low, squeezing.

4. Associative warm-up number 1

Teacher. Are poets and writers right? Is it possible to trust their phonetic and aesthetic taste? Research involves experimental work. We will empirically prove or disprove the expressed idea about the connection between sound and meaning. If such a connection exists, then the same sounds should evoke the same associations in different people.

(First I show the sounds, the guys give characteristics, then I open the answers, i.e. those characteristics that are given to the sounds by poets and writers. We draw a conclusion about the connection between sound and meaning)

Teacher. Give a description of the sounds (1-2 definitions) in terms of size, strength, beauty.

[p "], [x"] - weak, frail, small, bad;

Teacher. Convey the mood, character, which is created with the help of the following sounds:

[x"] [s"] - cowardly;

[C], [k], [t] - sad;

[D], [n], [l], [m] - good;

[F], [h], [s], [f] - evil;

[and], [l "] [m"] - gentle.

5. Research work

Teacher. Now that the connection between sound and meaning is beyond doubt, let's get to know it better. Let's do our linguistic research. Let's try to determine the type of sound writing and its connection with the meaning in the works of a small folklore genre - in riddles. We do not accidentally turn to folklore. The Russian people have always been very attentive to the word, sensitively capturing the slightest shades of both sound and meaning. We should know this and be proud of the glorious heritage of our great people. We work in groups. Each group must complete the following tasks:

Card 1

Read and guess the riddle. Emphasize sounds that convey a certain meaning. Determine the type of sound. Establish a correspondence between sound and meaning.

Students. This is a braid. The riddle combines assonance and alliteration. The repetition of the hissing consonant sound [u] and the vowel sound [u] conveys sounds when mowing.

Card 2

Read and guess the riddle. Emphasize sounds that convey a certain meaning. Determine the type of sound. Establish a correspondence between sound and meaning.

Students. This is a boat. Assonance is used in the riddle. The repetition of the vowel sound [y] helps convey its movement.

Card 3

Read and guess the riddle. Emphasize sounds that convey a certain meaning. Determine the type of sound. Establish a correspondence between sound and meaning.

Students. This is the wind. Assonance is used in the riddle. The repetition of the vowel sound [y] helps to imagine the sound of the wind, its howl.

Card 4

Read and guess the riddle. Emphasize sounds that convey a certain meaning. Determine the type of sound. Establish a correspondence between sound and meaning.

Students. This is a blizzard. The riddle uses alliteration. The repetition of the sounds [p, h] helps to describe her breathing, swirling snow, gusts of wind.

Teacher. What did our research work convince us of?

Students. With the help of sound recording, you can convey a variety of sounds of nature, understand them, get a variety of auditory impressions.

6. Associative warm-up #2

Teacher. We continue our research. Let's talk about the role of sound writing in poetic texts, because it is poetry that is the most striking expression of all means of speech expressiveness, including sound writing. I offer you associative warm-up number 2: you close your eyes and listen to poetry, and then talk about the images that you imagined, about the feelings that arose. What sounds helped you? Make a conclusion about the role of sound recording. (Read by heart).

Dry leaves, dry leaves

Under the dim wind they circle, rustle,

Dry leaves, dry leaves

Under the dull wind, dry leaves,

Whirling, what are they whispering, what are they saying?

Students. I listen to a poem, and images of dusk, evening appear in my imagination, it seems that you hear rustling, a feeling of anxiety, confusion arises. The repetition of the word dry hints at the obsolete, dead, this gives rise to uncertainty and fear in the soul. Sound writing helps the poet to depict, and the reader to present various images, pictures, evokes certain feelings.

M. Tsvetaeva

Elderberry flooded the whole garden!

Elderberry is green, green!

Greener than the mold on the vat.

Green means summer is on the way!

Blue - until the end of days!

The elderberry of my eyes is greener!

Students. The poem uses sonorous, life-affirming sounds. So one hears the many-voiced roll call of sounds that reflect the exuberant triumph of colors, bright, contrasting sounds. Sound recording gives rise to concrete auditory impressions.

K. Balmont

And blue vision.

I came to this world to see the sun

And the heights of the mountains.

I came to this world to see the Sea

And the lush color of the valleys.

I made worlds in one glance,

I am the ruler.

I conquered cold oblivion

Created my dream.

Every moment I fulfilled revelations,

I always sing.

My dream of suffering awakened

But I love for

Who is equal to me in my melodious power?

Nobody, nobody.

I came to this world to see the sun,

And if the day is gone

I will sing. I will sing about the sun

At the hour of death!

Students. In this poem, vowels [a, o, y] predominate - strong, open, joyful. It is their abundance that creates a joyful, solemn, loud sound. Behind them is the image of a lyrical hero, confident in life, striving for victories in life, discoveries, affirming the power of man. Sound writing helps to draw the image of a lyrical hero.

7. Discourse on a linguistic topic

Teacher. And once again we were convinced that “every sound of our speech is a small conjuring dwarf”, capable of conveying the thoughts and feelings of poets, drawing a variety of pictures in our imagination, understanding the mood and character of the lyrical hero.

Not only poets and writers, but also many linguists pointed to these abilities of sounds, studied them, and the studies of the last decades, which are carried out using the most advanced computer technologies, only confirmed those associative connections that were written about a hundred or more years ago. Linguists L. Krysin, A. Zhuravlev and others presented in their works many interesting observations about the connection between sound and meaning. Let's get acquainted with some of them. We turn to the textbook. We work in pairs (exercise 400, examine the poetic texts of exercise 33). The result of our study should be a discussion on a linguistic topic. (See Attachment).

Students. The modern linguist G. Lidman-Orlova believes that “our feelings are affected not only by the words and the meaning of the statement, but also by the very sound of speech. To enhance the impression, poets often choose for their poems such a sound range that emphasizes poetic images. The poetic lines of Maximilian Voloshin will help us to verify the truth of these words:

My fire burned out on the desert shore,

Rustled the rustling of streaming sand,

And the bitter soul of yearning wormwood

In the languid haze it swayed and flowed.

In the first line, the author uses assonance: the repetition [a] conveys an image of space, splendor, height, in it the alliteration to [p] conveys a crackle that can be heard near the fire. In the second line, the alliteration in [u] conveys the sound of sand rippling in the wind. The assonance in the third and fourth lines [o, a, a, a], [o, a, e, a, a, a, a] conveys melodiousness, melodiousness. The skill of the poet lies in the fact that he was able to find words with such a sound composition that we vividly imagined a dying fire in the middle of an immense desert (probably, this is the name of the steppe), a lone blade of wormwood, perhaps, and a lyrical hero suffering from bitter loneliness.

Students. Many researchers of Russian phonetics have pointed out that the sounds of speech are endowed with a semantic load. In particular, G. Lidman-Orlova believes that “our feelings are affected not only by the words and the meaning of the statement, but also by the very sound of the speech. To enhance the impression, poets often choose for their poems such a sound range that emphasizes poetic images. The poetic lines of K. Balmont will help to illustrate the named function of sounds:

Midnight sometimes in the swamp wilderness

Slightly audible, silently, the reeds rustle.

What are they whispering about? What are they talking about?

Why are the lights burning between them?

In the first two lines, the alliteration in [h, s, w] conveys the rustle and whisper of coastal reeds. Reeds not only whisper, they also make other sounds, so the author used alliteration in [p]. The poet created such poetic lines that will not leave anyone indifferent. We read them, and our imagination draws a night on the shore of a forest lake, close-ups of reeds and other coastal grasses. Let us listen, and we will hear the quiet splash of water, the gentle rustling of reeds, the whispering of sedges, the crackle of dried blades of grass.

Teacher. As you can see, with the help of assonance and alliteration, the masters of the poetic word have a lot to say to their readers.

8. Essay-miniature

Teacher. Any research in linguistics implies the presence of a word on the research issue. In our case, this may be writing a miniature essay using sound recording. Read the task for exercise 404 (Think about what the leaves whisper about on a cloudy autumn day). Write a miniature using painting. We work in pairs.

Key words: dry leaves, spinning, rustling, whispering, chuckling, crackling.

9. Lesson reflection

Was Balmont right, who believed that every sound of our speech is a “small conjuring dwarf”?

Students. Of course, every sound of our speech is “a small conjuring dwarf”. And today at the lesson we saw how, by a skillful combination of sounds or repetition of the same sound, the masters of the word help us get vivid auditory impressions, imagine the depicted phenomena, draw magnificent pictures of our native nature in our imagination.

Teacher. I sincerely hope, guys, that after doing the research, you saw that the sound fabric of a poetic work helps readers understand the poet's thought, the feelings and mood of the lyrical hero. The poetic word seems to have its own taste, color, smell, volume. And to feel this word, and not just to understand its lexical meaning, to feel its taste, smell, its other meaning, often hidden, its SOUND helps. It is important to be able to hear, and hearing, to understand the hidden, not always lying on the surface, meaning. Hearing and understanding, enjoy the sounding word. I wish that only pleasant-sounding words surround you, that you want to utter only pleasant-sounding words. Be healthy and happy!

References

Golub I.B. Exercises in the style of the Russian language. Moscow: Iris Press, 2006.

Gorshkov A.I. Russian literature. M.: Enlightenment, 1995.

Doronina T.V. etc. Analysis of the poem. Textbook.- M.: Exam Publishing House, 2004.

Lozinskaya T.P. Linguistic analysis in the lessons of the Russian language. 5-6 grade. -M.: "Moscow Lyceum".

Lvova S.I. Literature lessons. 5-9kl .: A guide for the teacher .- M .: Bustard, 1996.

Lvova S.I. Language and speech. Textbook for grades 8-9. - 2nd ed. - M .: TID Russkoe Slovo-RS LLC, 2000.

Merkin G.S. etc. The development of speech. Expressive means of artistic speech: A guide for the teacher .- M .: LLC TID Russkoe Slovo-RS, 2005.

Novikov V.I. Literary criticism and stylistics. Moscow: Pedagogy - Press, 1997.

Appendix to the lesson “Phonetic means of expression. Soundwriting"

sounds and meaning

	splendor, great space, depth,
	tall, blue
	close, low, squeezing
	sadness, tenderness, melodiousness
	loud, bright, red, hot, fast, shaky
	pale, blue, cold, smooth, light
	tenderness, snow, sky, night
	stuffy, heavy, fog, oh darkness
	sweet, soft, mother, sea
[w, w, s, h, f, x]	rustle, noise, whisper, rustle

Characteristics of sounds in size, strength, beauty

[c], [a], [p] - strong, active;

yu, [p "], [x"] - weak, frail, small, bad;

[a] - wide, strong, good;

[k], [w], [g], [s], [f], [u] - rough;

[o], [i], [m], [l], [y] are smooth.

Characteristics of sounds by mood, character

[a], [p] - brave, cheerful, joyful;

[s], [x "] - cowardly;

[C], [k], [t] - sad;

[D], [n], [l], [m] - good;

[F], [h], [s], [f] - evil;

[and] [m "] [l"] - gentle

Card 1

Read and guess the riddle. Emphasize sounds that convey a certain meaning. Determine the type of sound. Establish a correspondence between sound and meaning.

The pike walks along the backwater, looking for the pike for the warmth of the nest, where the grass would be thick for the pike.

Build your answer as follows:

Card 2

Read and guess the riddle. Emphasize sounds that convey a certain meaning. Determine the type of sound. Establish a correspondence between sound and meaning.

Food, food, no trace; I cut, I cut, there is no blood.

Build your answer as follows:

It (….). The riddle uses (a, s) (assonance, alliteration, assonance and alliteration combined). Repetition (what sounds?) conveys (what? what sounds?), helps to imagine (what?).

Card 3

Read and guess the riddle. Emphasize sounds that convey a certain meaning. Determine the type of sound. Establish a correspondence between sound and meaning.

He fights without arms, without legs. Without arms, without legs, knocking under the window, asking for a hut.

Build your answer as follows:

It (….). The riddle uses (a, s) (assonance, alliteration, assonance and alliteration combined). Repetition (what sounds?) conveys (what? what sounds?), helps to imagine (what?).

Card 4

Read and guess the riddle. Emphasize sounds that convey a certain meaning. Determine the type of sound. Establish a correspondence between sound and meaning.

I twist, I grumble, I don’t want to know anyone.

Build your answer as follows:

It (….). The riddle uses (a, s) (assonance, alliteration, assonance and alliteration combined). Repetition (what sounds?) conveys (what? what sounds?), helps to imagine (what?).

The modern linguist G. Lidman-Orlova believes that “our feelings are affected not only by the words and the meaning of the statement, but also by the very sound of speech. To enhance the impression, poets often choose for their poems such a sound range that emphasizes poetic images. The poetic lines of Maximilian Voloshin will help us to verify the truth of these words (read expressively).

In the first line, the author uses (assonance, alliteration?): the repetition conveys (what?) _______________________________________________________________. In the second line (assonance, alliteration?) Vividly draws to the imagination (what?) _______________________________________________________________________________________________________________________________________________. (Assonance, alliteration?) in the third and fourth lines allows you to see (what?) ____________________________________________________________________. The skill of the poet lies in the fact that he was able to find words with such a sound composition that we vividly imagined (what picture? Imbued with what feelings?) _________________________________________________________________ How did you see the lyrical hero?

As you can see, the researcher of Russian phonetics G. Lidman-Orlova was right, she believed that "poets often choose for their poems such a sound range that emphasizes poetic images."

Many researchers of Russian phonetics have pointed out that the sounds of speech are endowed with a semantic load. In particular, G. Lidman-Orlova believes that “our feelings are affected not only by the words and the meaning of the statement, but also by the very sound of the speech. To enhance the impression, poets often choose for their poems such a sound range that emphasizes poetic images. The poetic lines of K. Balmont will help to illustrate the named function of sounds (read expressively).

In the first two lines (assonance, alliteration?) does not convey (what?) _____________________________________________________________________. Reeds not only whisper, they also make other sounds, so the author used (assonance, alliteration?) on. The poet created such poetic lines that will not leave anyone indifferent. We read them, and our imagination draws (what?) ________ ____________________________________________________________________________________________________________________________________________________________. Let's listen, and we will hear (what?) ________________________________________________________________________________________________________________________________________________________________. The poetic lines are imbued with (what mood?) ______________________________________________________________________________________________________________________________________________, and in this, of course, the role of sound repetitions and skillful selection of sounds is great.

As you can see, the researcher of Russian phonetics G. Lidman-Orlova was right, she believed that "our feelings are affected not only by the words and the meaning of the statement, but also by the very sound of speech."

The created project product is addressed, first of all, to high school students (15-17 years old) and students who like to play intellectual team games.