Possibilities of vocabulary. Figurative and expressive means of language How to make your speech diverse and rich

The purpose of the lesson. Training in the analysis of the phonetic organization of speech.

Lesson objectives:

to update the following literary concepts: euphony, cacophony, alliteration, assonance, sound writing;
learn to edit the text in terms of its phonetic organization;
improve the skill of analyzing phonetic means of speech expressiveness.

Equipment: printouts of texts, slides.

DURING THE CLASSES

Emotional start: reading by the teacher (trained student) of S.Ya.Marshak's poem.

Breathing is free in every vowel,
In consonants - interrupted for a moment.
And only he achieved harmony
To whom their alternation is subject.
Silver and copper sound in consonants.
And the vowels are given to you to sing.
And be happy if you can sing
Or even breathe a poem.

What words contain the main idea of the poem?
- "Breath" the lines of your favorite poems? Why do you remember them?

Pupils read their favorite lines from memory, for example: “Whispers, timid breathing, trills of a nightingale ...”, “The sea shone all in bright light, and menacing waves beat against the shore ...”, etc. They explain that they are remembered because of the harmonious connection of meaning and sound, melody or rhythm.
The teacher explains the topic and purpose of the lesson.

Task number 1.

Indicate the features of the sound organization of speech in an excerpt from A. Tvardovsky's poem "House by the Road". Highlight audio repetitions; define their aesthetic functions in context.

Such is the covenant and the sound is such
And along the spit along the sting,
Washing away the trifle of the petals,
The dew ran in a stream.
Mowing high as a bed
He lay down, fluffed up magnificently,
And a wet sleepy bumblebee,
In the mowing, he sang almost audibly.
And with a soft swing it's hard
The scythe creaked in his hands.
And the sun burned
And it went on
And everything seemed to sing:
Mow, scythe,
While the dew
Down with dew -
And we are home.

Indicate the shortcomings of phonics in excerpts from the works of young authors, write down the editing option. Compare it with M. Gorky's version of the edit.

Manuscript variant	M. Gorky's note
Drops drip from the roofs in the transparent air; like drops, the strokes of the Lenten bell fall one after another.	“You can find hundreds of these “how to” on the pages of Novikov’s boring book.”
Ignoring actresses with passionate looks.	"Three Cs are whistling unbearably."
During the year there were over one and a half hundred skirmishes.	The combination of "hundred", "hundred" is inappropriate.
From time to time a young woman's face poked out of the rattling gate.	To replace the syllable "of" use "sometimes".
The sky seemed to be cracking from the heat, from the heat and fatigue blurred in the eyes.	Thrice "moose" sounds bad.

Taking into account the lessons of the previous task and the advice of M. Gorky, from the proposed abbreviations, select the name of our school theater. Suggest your choice.

TOU is a theatrical organization of students.
KIT is a club for those interested in theater.
TKU is a theatrical club of students.
TKSH is a theater club for schoolchildren.
STI - school theatrical art.
STO - school theater society.
OTI - society of theatrical art.

Determine the purpose of using onomatopoeic and sound-like words, their phonetic environment.

From the dead head, the grave snake, hissing, meanwhile crawled out. (P.)
With a familiar noise, the rustle of their peaks greeted me. (P.)
They hunted a lot, galloped a lot, threw hounds from island to island. (N.)
Heels knock like hooves - the girl runs to the column to get drunk. (Ascension)
The hut-old woman chews the rough crumb of silence with the jaw of the threshold. E.)
The Neva swelled and roared, bubbling and swirling like a cauldron. (P.)

– Which authors did you recognize?
- What is the name of the expressive technique used by poets? Give it a definition. (Sound is a technique for enhancing the figurativeness of a text by means of such a sound construction of phrases, poetic lines, which would correspond to the reproduced scene, picture, expressed mood.)

Analyzing the phonics of the poem, show the unity of the sound and semantic organization of speech. Name the technique of image enhancement.

Analyzing phonics, show the unity of the sound and semantic aspects of speech. Use cliche options: thanks to sound writing (assonance, alliteration), i.e. repetition of sounds ... the author creates a mood (joy, anger, tranquility, admiration, peace, bitterness, etc.), or ... conveys the beauty (ugliness, dynamism, etc.) of the world that is happening, or ... emphasizes the contrast of the depicted phenomena (events, characters, behavior, etc.)

1) Only at night do you see the universe.
Silence and darkness are needed
So that this secret meeting,
Without covering her face, she came.

2) The mazurka rang out. used to
When the mazurka thundered,
Everything in the great hall was trembling,
The parquet cracked under the heel,
Shaking, rattling frames:
Now it's not the same, and we, like ladies,
We slide on varnished boards.

Analyze the editing of Russian poets in terms of phonics; indicate lexical substitutions dictated by the sound selection of words, try to justify the rejection of certain consonances and the selection of words of a certain sound coloring. Group work.

original version	final version
Love sad anxiety	Love crazy anxiety I may have found out too soon.
Hear the judgment of a fool And black cold laughter...	Hear the judgment of a fool And the laughter of the crowd is cold ...
	Killed! .. Why sob now, Praise and tears unnecessary choir ...
Insidious whisper of insensitive (contemptuous) ignoramuses...	Poisoned his last moments Insidious whisper mocking ignoramuses...
Repeating words of hope Your soul is alien to melancholy.	Repeating the words of parting Your soul is full of hope.
And the red squadrons rushed south.	And the red squadrons galloped south.

Compare the sound organization of speech in sentences; point out what disturbs the euphony in the unedited versions. Analyze the stylistic changes, if necessary, make adjustments to the editorial version.

original version	final version
From early morning, the entire population of the village began to flock here.	Early in the morning people from all over the village started coming here.
Border guards guard the border like the apple of their eye.	Border guards secure the border.
The picturesque chronicle of Moscow is represented by drawings and engravings presented at the exhibition.	The drawings and engravings presented at the exhibition are the artistic chronicle of Moscow.
On an unprecedented example of the Soyuz-9 flight, the authors based themselves in filming.	The film was based on the unprecedented flight of the Soyuz-9 spacecraft.

Write down a poem by A.S. Pushkin. Prepare a coherent answer about the phonetic means of the sound harmony of poetic speech. Indicate repetitive sounds, phenomena of assonance, alliteration; explain their connection with artistic images and the content of the poem. Name the words highlighted with the help of sound writing.

Having dropped the urn with water, the Virgin broke it on the cliff.
The maiden sits sadly, idle holding a shard.
Miracle! Water will not dry up, pouring out of a broken urn;
The Virgin, above the eternal stream, sits forever sad.

(One possible answer:

“In A.S. Pushkin’s poem “The Tsarskoye Selo Statue”, one of the most famous sights of the Catherine Park of Tsarskoye Selo is sung. This is the fountain "Girl with a jug", depicting a sitting girl with a shard in her hands and a broken jug at her feet, from which water flows in an inexhaustible stream.
The great poet managed to reproduce the image not of a motionless sculpture, but of a living “Virgin”. Thanks to alliteration, we clearly hear the roar and ringing of a pitcher breaking on a rock: “At pH u with water R about n willow, on the cliff of her virgin R a zb silt. Voiced plosives convey instantaneous, brief action. The light and quiet rustle of endlessly flowing water, its eternal murmur can be heard in the repeated sound “Ch” (“... above the eternal stream, it sits forever sad.”) eternity.)

Homework. Prepare a written coherent answer about the phonetic means of the sound harmony of the poem “On the Hills of Georgia…” Indicate repetitive sounds, phenomena of assonance, alliteration; explain their connection with artistic images and the content of the poem. Name the words highlighted with the help of sound writing.

(One possible way to work:

“In the mind of A.S. Pushkin there was always an association of Georgia with its songs. He wrote: "Georgian songs are pleasant and mostly mournful." In the poem "On the hills of Georgia" this idea receives phonetic support: the sound coincidence of "Georgia" is "sad". Alliteration in the first 3 lines: Georgia, Aragva, sad - helps to create a feeling of calm confidence. The most intimate feeling - love - echoes this concept. Only a sound hint (soft L) it is present in the first line: “ l eats." More clearly - in the third: "I am sad and l easily; oven l b my light l a ... ", but it is named (twice) only at the end of the poem.
Sadness occupies a special place between sadness and love, and therefore sadness is permeated with extraordinary light, light becomes its quality. The sound image "sadness" applies to all words with a stressed "A": haze, Aragva, light, full. Thanks to assonance and an open stressed syllable, the poem acquires a special lyricism. The lyrical hero is open to the world.)

References:

Golub I.B. Exercises in the style of the Russian language. Moscow: Iris Press, 2006.
Gorshkov A.I. Russian literature. M.: Enlightenment, 1995.
Novikov V.I. Literary criticism and stylistics. M.: Pedagogy - Press, 1997.

Grammatical means of expressiveness are less significant and less noticeable in comparison with lexico-phraseological ones. Grammatical forms, phrases and sentences correlate with words and to some extent depend on them. Therefore, the expressiveness of vocabulary and phraseology comes to the fore, while the expressive possibilities of grammar are relegated to the background.

The main sources of speech expressiveness in the field of morphology are forms of a certain stylistic coloring, synonymy and cases of figurative use of grammatical forms.

A variety of expressive shades can be conveyed, for example, by using one form of the number of nouns instead of another. Thus, the forms of the singular number of personal nouns in the collective sense vividly convey the generalized plurality. This use of singular forms is accompanied by the appearance of additional shades, most often negative ones: “Moscow, burnt by fire, French given away” (M. Lermontov). Expressiveness is characteristic of plural forms, collective names used metaphorically to refer not to a specific person, but to a typified phenomenon: “We all look into Napoleons"(A. Pushkin); " Molchalins blissful in the world ”(A. Griboedov).

Pronouns are characterized by richness and variety of emotional and expressive shades. For example, the pronouns “some”, “someone”, “some”, used when naming a person, introduce a tinge of disdain into speech (some kind of doctor, some poet, some Ivanov).

The uncertainty of the meaning of pronouns serves as a means of creating a joke, a comic. Here is an example from V. Pikul's novel "I have the honor": “When his wife had an Astrakhan herring. I think - why would a lady with our smelly herring drag around Europe? He cut her belly (not a lady, of course, but a herring), so from there, dear mother, diamond after diamond - they rained down like cockroaches.

Special expressive shades are created by contrasting the pronouns we - you, our - yours, while emphasizing two camps, two opinions, views, etc.: “Millions of you. Us - darkness, and darkness, and darkness. Try it, fight us!" (A. Blok); “We stand against the society whose interests you are ordered to defend, as implacable enemies of it and yours, and reconciliation between us is impossible until we win ... You cannot refuse the oppression of prejudices and habits, the oppression that spiritually killed you - nothing prevents us from being internally free - the poisons with which you poison us are weaker than those antidotes that you - unwittingly - pour into our consciousness ”(M. Gorky).

Verbal categories and forms with their rich synonymy, expression and emotionality, and the ability to use figuratively have great expressive possibilities. The possibility of using one verb form instead of another makes it possible to widely use in speech synonymous replacements of some forms of tense, aspect, mood or personal forms of the verb with others. The additional semantic shades that appear in this case increase the expression of the expression. So, to indicate the action of the interlocutor, forms of the third person singular can be used, which gives the statement a disparaging connotation (He is still arguing!), the first person plural (“Well, how are we resting?” - in the meaning of ‘resting, resting’) with a touch of sympathy or special interest, an infinitive with a particle would have a touch of desirability (You should rest a little; You should visit him).

The past tense of the perfect form, when used in the meaning of the future, expresses a special categorical judgment or the need to convince the interlocutor of the inevitability of action: “- Listen, let me go! Drop off somewhere! I completely disappeared ”(M. Gorky).

There are many expressive forms of inclinations (“May there always be sunshine!”; “Long live peace throughout the world!”). Additional semantic and emotionally expressive shades appear when some mood forms are used in the meaning of others. For example, the subjunctive mood in the meaning of the imperative has a connotation of a courteous, cautious wish (You would go to your brother), the indicative mood in the meaning of the imperative expresses an order that does not allow objections, refusals (You will call tomorrow!); the infinitive in the meaning of the imperative mood expresses categoricalness (Stop the arms race!; Prohibit testing of atomic weapons!). The particles yes, let, well, well, -ka, etc. contribute to the strengthening of the expression of the verb in the imperative mood: “- Well, is it sweet, my friend. // Judge in simplicity” (A. Tvardovsky); Shut up!; So, say!

The expressive possibilities of syntax are primarily associated with the use of stylistic figures (turns of speech, syntactic constructions): anaphora, epiphora, antitheses, gradation, inversion, parallelism, ellipsis, silence, non-union, multi-union, etc.

The expressive possibilities of syntactic constructions, as a rule, are closely connected with the elephants that fill them, with their semantics and stylistic coloring. Thus, the stylistic figure of antithesis is often created by using antonyms; the lexical basis of the antithesis is antonymy, and the syntactic basis is the parallelism of the construction. Anaphora and epiphora are based on lexical repetitions:

In silence and essence of the forest I think about life under a pine tree. That pine tree is clumsy and old, That pine tree is harsh and wise, That pine tree is sad and calm, Quieter than the jets in the big, big river, Like a mother, Gently strokes my cheek with a coniferous palm.

(V. Fedorov)

The stringing of synonymous words can lead to gradation, when each subsequent synonym strengthens (sometimes weakens) the meaning of the previous one: “She was there, in a hostile world that he did not recognize, despised, hated "(Yu. Bondarev).

The expressiveness of speech depends not only on the semantic volume and stylistic coloring of the word, but also on the methods and principles of their combination. Here, for example, how and what words V. Vysotsky combines into phrases:

Trusting Death wrapped around the finger,

She hesitated, forgetting to wave her scythe. They no longer caught up with us and the bullets lagged behind. Will we be able to wash ourselves not with blood, but with dew ?!

Death is trusting; death was “wrapped around the finger” (i.e. deceived); bullets did not catch up, but lagged behind; wash with dew and wash with blood.

The search for fresh, well-aimed combinations, expansion, renewal of lexical compatibility are characteristic primarily of artistic and journalistic speech.

Since the time of Ancient Greece, a special semantic type of phrases has been known - oxymoron (Greek oxy moron - witty-silly), i.e. "a stylistic figure consisting in the combination of two concepts that contradict each other, logically excluding one another" (hot snow, ugly beauty, truth of lies, ringing silence). Oxymoron allows you to reveal the essence of objects or phenomena, emphasize their complexity and inconsistency. For example:

Covered

Sweet despair

The pain of delight

By your eyes

Wide open

Like a goodbye

I saw myself

(V. Fedorov)

An oxymoron is widely used in fiction and journalism as a bright, catchy title, the meaning of which is usually revealed by the content of the whole text. So, in the newspaper "Soviet Sport" a report from the World Team Chess Championship is entitled "Original Template". Grandmaster Polugaevsky's attempt to make wider use of the typical positions that appeared on the board analyzed in detail in manuals on chess theory, the knowledge of which makes it easier for an athlete to find a way out, is called an original template.

According to the apt definition of A.S. Pushkin, "language is inexhaustible in the combination of words", therefore, its expressive possibilities are also inexhaustible. Updating links between words leads to updating verbal meanings. In some cases, this is manifested in the creation of new, unexpected metaphors, in others, in an almost imperceptible shift in verbal meanings. Such a shift can be created not by close, but by distant connections of words, separate parts of the text, or the entire text as a whole. This is how, for example, a poem by A.S. Pushkin "I loved you", which is an example of expressiveness of speech, although it mainly uses words that do not have bright expressive coloring and semantic connotations, and only one paraphrase (« Love is still, perhaps, / In my soul, it has not completely died out. The poet achieves extraordinary expressiveness through the ways of combining words within the entire poem, organizing its speech structure as a whole and individual words as elements of this structure.

The syntax of the Russian language, in addition, has a lot of emotionally and expressively colored constructions. Thus, infinitive sentences with a colloquial coloration are characterized by various modal-expressive meanings: “You will not see such battles” (M. Lermontov); "Do not hide, // Do not hide the amazement // Neither the horns nor the masters" (V. Fedorov).

An emotional-evaluative attitude to the content of the statement can be expressed with the help of exclamatory sentences: “How beautiful life seems to me when I meet restless, caring, enthusiastic, searching, generous-hearted people in it!” (V. Chivilikhin); sentences with inversion: “Fate has come to pass!” (M. Lermontov), segmented and packaged structures: “Winter is so long, so endless”; “Tal, where we will live, is a real forest, not like our grove ... With mushrooms, with berries” (V. Panova), etc.

It enlivens the narrative, allows you to convey the emotional and expressive features of the author's speech, more clearly show his inner state, attitude to the subject of the message, direct and improperly direct speech. It is more emotional, expressive and convincing than indirect.

They give liveliness to the statement, emphasize the dynamism of the presentation of a definitely personal proposal; nominative ones are distinguished by great semantic capacity and expressiveness; various emotions express vocative and other sentences: “People of the whole earth // Let the alarm sound: // Let's protect the world! // Let's stand up as one - // Let's say: we won't let // Re-ignite the war" (A. Zharov); “Oh dear! // Dust and fog, // Cold, anxiety // Yes, steppe weeds ”(L. Oshanin); - “Verochka, tell Aksinya to open the gate for us! (Pause.) Verochka! Don't be lazy, get up, dear!" (A. Chekhov).

The expressive possibilities of syntactic (as well as other) means of the language are updated due to various stylistic methods of using them in speech. Interrogative sentences, for example, are a means of expression if they not only contain an incentive to receive information, but also express a variety of emotionally expressive shades (“Is it morning?”; “So you won’t come?”; “Again this nasty rain?” ); arouse the addressee's interest in the message, make them think about the question posed, emphasize its significance: “How far will you sail on the wave of the crisis?”; "Is the postman's bag heavy?"; "Does it give us warmth?"; “Will the CIS strengthen its positions?” (these are some of the titles of the articles). Rhetorical questions widely used in public speeches contribute to attracting the attention of the addressee and strengthening the impact of speech on his feelings: “Don't we have overflowing creativity? Don't we have a smart, rich, flexible, luxurious language, richer and more flexible than any of the European languages?

Why should we boredly creak with feathers when our ideas, thoughts, images should rattle like a golden trumpet of a new world? (A.N. Tolstoy).

In the practice of oratory, a special technique for using interrogative sentences has been developed - a question-answer move (the speaker puts questions and answers them himself): “How did these ordinary girls become extraordinary soldiers? They were ready for a feat, but they were not ready for the army. And the army, in turn, was not ready for them, because most of the girls went voluntarily” (S. Aleksievich).

The question-answer move dialogizes monologue speech, makes the addressee the interlocutor of the speaker, activates his attention. Dialogization enlivens the narrative, gives it expressiveness.

Thus, the expressiveness of speech can be created by the most common, stylistically unmarked language units due to their skillful, most appropriate use in the context in accordance with the content of the statement, its functional and stylistic coloring, general expressive orientation and purpose.

As a means of speech expressiveness in a certain situation, deviations from the norms of the literary language are deliberately used: the use of units of different stylistic coloring in one context, the collision of semantically incompatible units, non-normative formations of grammatical forms, non-normative construction of sentences, etc. This use is based on a conscious choice of language means based on a deep knowledge of the language.

It is possible to achieve speech expressiveness only with the correct correlation of the main aspects of speech - logical, psychological (emotional) and linguistic, which is determined by the content of the statement and the author's goal setting.

The lexical system of the language is complex and multifaceted. The possibilities of constant renewal in speech of principles, methods, signs of unification within the whole text of words taken from various groups hide in themselves the possibilities of updating speech expressiveness and its types.

The expressive possibilities of the word are supported and enhanced by the associativity of the reader's figurative thinking, which largely depends on his previous life experience and the psychological characteristics of the work of thought and consciousness as a whole.

The expressiveness of speech refers to such features of its structure that maintain the attention and interest of the listener (reader). A complete typology of expressiveness has not been developed by linguistics, since it would have to reflect the entire diverse range of human feelings and their shades. But we can quite definitely talk about the conditions under which speech will be expressive:

The first is the independence of thinking, consciousness and activity of the author of the speech.
The second is his interest in what he is talking about or writing about.
The third is a good knowledge of the expressive possibilities of the language.
Fourth - systematic conscious training of speech skills.

The main source of enhancing expressiveness is vocabulary, which gives a number of special means: epithets, metaphors, comparisons, metonymy, syn-ecdochi, hyperbole, litotes, personifications, paraphrases, allegory, irony. Syntax, the so-called stylistic figures of speech, have great opportunities to enhance the expressiveness of speech: anaphora, antithesis, non-union, gradation, inversion (reverse word order), polyunion, oxymoron, parallelism, rhetorical question, rhetorical appeal, silence, ellipsis, epiphora.

The lexical means of a language that enhance its expressiveness are called in linguistics paths (from the Greek tropos - a word or expression used in a figurative sense). Most often, the paths are used by the authors of works of art when describing nature, the appearance of heroes.

These figurative and expressive means are of the author's nature and determine the originality of the writer or poet, helping him to acquire the individuality of style. At the same time, there are general language tropes that arose as author's, but over time became familiar, entrenched in the language: “time heals”, “battle for the harvest”, “military thunderstorm”, “conscience spoke”, “curl up”, “like two water drops ".

In them, the direct meaning of words is erased, and sometimes completely lost. Their use in speech does not give rise to an artistic image in our imagination. A trope can become a cliché if used too often. Compare expressions that determine the value of resources using the figurative meaning of the word "gold" - "white gold" (cotton), "black gold" (oil), "soft gold" (furs), etc.

Epithets (from the Greek epitheton - application - blind love, foggy moon) artistically define an object or action and are expressed by a full and short adjective, noun and adverb: “Do I wander along noisy streets, enter a crowded temple ...” ( A.S. Pushkin)

“She is anxious, like sheets, she, like a harp, is multi-stringed ...” (A.K. Tolstoy) “The frost-voivode patrols his possessions ...” (N. Nekrasov) “Uncontrollably, uniquely, everything flew far and past ... "(S. Yesenin). Epithets are classified as follows:

1) constant (characteristic of oral folk art) - “good fellow”, “beautiful maiden”, “green grass”, “blue sea”, “dense forest”, “mother earth”;

2) pictorial (visually draw objects and actions, make it possible to see them as the author sees them) - “a crowd of motley-haired fast cat” (V. Mayakovsky), “grass is full of transparent tears” (A. Blok);

3) emotional (convey the author’s feelings, mood) - “Evening brought black eyebrows ...” - “A blue fire rushed ...”, “Uncomfortable, liquid moonlight ...” (S. Yesenin), “... and the young city ascended magnificently, proudly ”(A. Pushkin).

Comparison is a comparison (parallelism) or opposition (negative parallelism) of two objects on one or more common grounds: “Your mind is as deep as the sea. Your spirit is as high as the mountains” (V. Bryusov) - “It’s not the wind that rages over the forest, it’s not the streams that ran from the mountains - the governor’s frost patrols his possessions” (N. Nekrasov). Comparison gives the description a special clarity, descriptiveness. This trope, unlike others, is always binomial - it names both juxtaposed or opposed objects. In comparison, three extremely important existing elements are distinguished - the object of comparison, the image of comparison and the sign of similarity. For example, in M. Lermontov’s line “White than snowy mountains, clouds go to the west ...” the subject of comparison is clouds, the image of comparison is snowy mountains, a sign of similarity is the whiteness of clouds - Comparison can be expressed:

1) a comparative turnover with the unions “as”, “as if”, “as if”, “as if”, “exactly”, “than ... by that”: “The fun that has faded away from crazy years is hard for me, like a vague hangover," But, like wine - the sadness of bygone days In my soul, the older, the stronger ”(A. Pushkin);

2) the comparative degree of an adjective or adverb: “there is no beast worse than a cat”;

3) a noun in the instrumental case: “A white snowdrift rushes along the ground like a snake ...” (S. Marshak);

“Dear hands - a pair of swans - dive in the gold of my hair ...” (S. Yesenin);

“I looked at her with might and main, as children look ...” (V. Vysotsky);

“I can’t forget this fight at all, the air is saturated with death.

And stars fell from the firmament like silent rain” (V. Vysotsky).

“These stars in the sky are like fish in ponds ...” (V. Vysotsky).

“Like an Eternal Flame, the peak sparkles with emerald ice during the day ...” (V. Vysotsky).

Metaphor (from the Greek. metaphora) means the transfer of the name of an object (action, quality) based on similarity, this is a phrase that has the semantics of a hidden comparison. If the epithet ~ is not a word in the dictionary, but a word in speech, then the statement is all the more true: metaphor ~ is not a word in the dictionary, but a combination of words in speech. You can drive a nail into the wall. You can hammer thoughts into your head ~ a metaphor arises, rude, but expressive.

The verbal actualization of the semantics of the metaphor is explained by the extreme importance of such guessing. And the more effort a metaphor requires in order for consciousness to turn a hidden comparison into an open one, the more expressive, obviously, the metaphor itself. Unlike a two-term comparison, in which both what is being compared and what is being compared is given, a metaphor contains only the second component. This gives the imagery and compactness of the path. Metaphor is one of the most common tropes, since the similarity between objects and phenomena can be based on a wide variety of features: color, shape, size, purpose.

The metaphor may be simple, expanded and lexical (dead, erased, petrified). A simple metaphor is built on the convergence of objects and phenomena according to some common feature - “the dawn is burning”, “the sound of the waves”, “the sunset of life”.

An expanded metaphor is built on various associations by similarity: “Here the wind embraces a flock of waves with a strong hug and throws them on a grand scale in wild anger on the rocks, breaking emerald bulks into dust and spray” (M. Gorky).

Lexical metaphor - a word in which the initial transfer is no longer perceived - "steel pen", "clock hand", "door handle", "sheet of paper". Metonymy (from the Greek metonymia - renaming) is close to the metaphor - the use of the name of one object instead of the name of another on the basis of an external or internal connection between them. Communication can be

1) between the object and the material from which the object is made: “Amber smoked in his mouth” (A. Pushkin);

3) between the action and the instrument of this action: “His pen breathes revenge” (A. Tolstoy);

5) between the place and the people in this place: “The theater is already full, the boxes are shining” (A. Pushkin).

A variety of metonymy is syn-ekdoha (from the Greek synekdoche - co-implying) - the transfer of meaning from one to another on the basis of a quantitative relationship between them:

1) a part instead of a whole: “All flags will visit us” (A. Pushkin); 2) a generic name instead of a specific one: “Well, why, sit down, luminary!” (V. Mayakovsky);

3) a specific name instead of a generic one: “Most of all, take care of a penny” (N. Gogol);

4) singular instead of plural: “And it was heard before dawn” how the Frenchman rejoiced” (M. Lermontov);

5) plural instead of singular: “Even the bird does not fly to him, and the beast does not go” (A. Pushkin).

The essence of personification consists in attributing to inanimate objects and abstract concepts the qualities of living beings - “I will whistle, and bloody villainy will obediently, timidly creep in to me, and will lick my hand, and look into my eyes, they are a sign of my, reading will” (A. Pushkin); “And the heart is ready to run from the chest to the top ...” (V. Vysotsky).

Hyperbole (from Greek hyperbole - exaggeration) - stylistic

a figure consisting in a figurative exaggeration - “they swept a haystack above the clouds”, “wine flowed like a river” (I. Krylov), “At one hundred and forty suns the sunset burned” (V. Mayakovsky), “The whole world in the palm of your hand ...” (V Vysotsky). Like other tropes, hyperbolas are author's and common language. In everyday speech, we often use such general language hyperbole - I saw (heard) a hundred times, “be scared to death”, “strangle in my arms”, “dance until you drop”, “repeat twenty times”, etc. The opposite hyperbole is stylistic reception - litote (from the Greek. litotes - simplicity͵ thinness) - a stylistic figure, consisting in an underlined understatement, humiliation, reticence: "a boy with a finger", "... You need to bow your head on a thin blade of grass ..." (N. Nekrasov) .

Litota is a kind of meiosis (from the Greek meiosis - decrease, decrease).

Meiosis is a trope of minimizing

intensity of properties (features) of objects, phenomena, processes: “wow”, “will do”, “decent”, “tolerant” (about good), “unimportant”, “hardly suitable”, “leaving much to be desired” (about bad ). In these cases, meiosis is a mitigating option for the ethically unacceptable direct naming: cf. "old woman" - "a woman of Balzac's age", "not the first youth"; "ugly man" - "hard to call handsome." Hyperbole and litotes characterize the deviation in one direction or another of the quantitative assessment of the subject and can be combined in speech, giving it additional expressiveness. In the comic Russian song “Dunya the Thin-Spinner” it is sung that “Dunyushka spun a kudelyushka for three hours, spun three threads”, and these threads are “thinner than a knee, thicker than a log”. In addition to the author's, there are also general language litotes - "the cat cried", "at hand", "not to see beyond one's own nose".

Periphrasis (from the Greek periphrasis - from around and I say) is commonly called

a descriptive expression used instead of a particular word (“who writes these lines” instead of “I”), or a trope, consisting in replacing the name of a person, object or phenomenon with a description of their essential features or an indication of their characteristic features (“the king of animals is a lion” , "foggy Albion" - England, "Northern Venice" - St. Petersburg, "the sun of Russian poetry" - A. Pushkin).

Allegory (from the Greek. allegoria - allegory) consists in the allegorical depiction of an abstract concept with the help of a specific, life image. In literature, allegories appear in the Middle Ages and owe their origin to ancient customs, cultural traditions and folklore. The main source of allegories is animal tales, in which the fox is an allegory of cunning, the wolf is malice and greed, the ram is stupidity, the lion is power, the snake is wisdom, etc. From ancient times to our time, allegories are most often used in fables, parables, and other humorous and satirical works. In Russian classical literature, allegories were used by M.E. Saltykov-Shchedrin, A.S. Griboedov, N.V. Gogol, I.A. Krylov, V.V. Mayakovsky.

Irony (from the Greek eironeia - pretense) - a trope, which consists in the use of a name or a whole statement in an indirect sense, directly opposite to the direct one, this is a shift in contrast, in polarity. Most often, irony is used in statements containing a positive assessment that the speaker (writer) rejects. “From where, smart, are you wandering, head?” - asks the hero of one of the fables of I.A. Krylov at the Donkey. Praise in the form of censure can also be ironic (see A.P. Chekhov's story "Chameleon", characterization of a dog).

Anaphora (from the Greek anaphora -ana again + phoros bearing) - monotony, repetition of sounds, morphemes, words, phrases, rhythmic and speech structures at the beginning of parallel syntactic periods or poetic lines.

Bridges demolished by a thunderstorm, A coffin from a blurry cemetery (A.S. Pushkin) (repetition of sounds) ... A black-eyed girl, A black-maned horse! (M.Yu. Lermontov) (repetition of morphemes).

Not in vain did the winds blow, Not in vain did the storm go. (S.A. Yesenin) (repetition of words)

I swear by the odd and even, I swear by the sword and the right battle. (A.S. Pushkin).

Team: Grishchenko Victoria, Kucheruk Anastasia, Meshkanova Anna, Nichemerzhina Elizaveta, Hoteshov Kirill.

The work was presented at the school scientific and practical conference.

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MUNICIPAL BUDGET GENERAL EDUCATIONAL INSTITUTION OF THE CITY OF MURMANSK

"SEVERAGE SCHOOL № 42"

Expressive possibilities

direction: philology

The work was done by students of grade 7 A:

Grishchenko Victoria

Kucheruk Anastasia

Meshkanova Anna

Nichemerzhina Elizabeth

Hoteshov Kirill

Head: Evseeva S.P.

Murmansk 2017

Introduction………………………………………….………………….2
Main part……………………………………..………………..3
Conclusion ………………………………………….………………6
Conclusions………………………………………………..……………...7
Literature……………………………………………..…………….7

If they talk about advertising, it's badadvertising .

If they talk about a product, it's good advertising.

David Ogilvie

Introduction

The language of advertising is of interest, because. has its own characteristics at all levels studied in the sections of linguistics. The genre of advertising requires that information be presented concisely, often it can be just a sign, a picture, or other non-verbal images. We are interested in the word and the verbal image. Because the purpose of the advertising slogan is to attract attention, to interest the buyer, by the way, there are special requirements in advertising. An advertising slogan is no longer just a carrier of information, but a sales agent that takes into account the age and character of the client, his social status, his interests and hobbies. The advertising slogan must be verified from the point of view of the psychology of the buyer.

Study the audience your activity will be aimed at. Who are these people you are addressing?

Young or old? Rich, poor or middle class? Single or family? Their interests, lifestyle...

David Ogilvie

Therefore, the creation of advertising is the concern of many specialists: psychologists, linguists, artists, marketers, etc. It would be interesting to imagine the buyer through the eyes of the compilers of advertising: how they see the consumer of their products. We selected 85 advertising texts for our study.

The purpose of our work– the study of the linguistic features of advertising texts and the analysis of the linguistic phenomena presented in them.

Tasks :

2. Classify the material by sections of linguistics;

3. Determine the effectiveness of such word usage;

4. Form an image of the client-buyer, the addressee of the advertisement.

Main part

Among the variety of literature on advertising, we want to highlight the works of David Ogilvy "Secrets of the advertising yard" and "Revelations of an advertising agent."David Ogilvy - founder of advertising agencies "Ogilvy & Mather", "Ógilvy PR", a successful copywriter. David Ogilvie is considered by many to be the father of advertising. In 1962, the American magazine "Time" described him as "the most famous magician in the modern advertising industry." He is a Commander of the Order of the British Empire. In 1977, he was inducted into the US Advertising Hall of Fame. Ogilvy named eight components of successful advertising. In second place, after the super-idea, is the text.

According to researchmarketers , commercial texts built on the basis of the model work best."Attention", "Interest", "Desire", "Action". This is how any advertising text should be built in order to be as effective as possible.

First of all, you need to attract the attention of the consumer.
After the attention of the consumer is won, it is necessary to provide him with information that will arouse his interest.
At the end of the text, to consolidate the emotional mood of the consumer and better remember information, there should be an echo phrase.

Let me turn to our material and see (or disprove) the effectiveness of some advertising slogans.

Vocabulary.

The frequently used formula "Prices jumped", "Prices fell" is built on the reception personification.

Formula "impossible is possible" - oxymoron combines two opposite phenomena.

"Lada at the price of the factory" - metonymy , the plant is understood as people producing management, management.

In the name of the lingerie store "Trusishka" - pun , played on ambiguity.

A common advertising technique is the use of phraseological units . For example, “seize the moment”, “look at stress from above”, “it won’t hang on us”, “everyone rides on us”, “relieve a headache”, “from hand to hand”, “Moscow is not rubber”, “life – an amazing thing”, “I guarantee decency”.

Some slogans use appropriately and inappropriatelyforeign vocabulary. For example, "Boutique de France is holding a tasting of French perfumes", with the words "Everything will be bon parfum!" written at the bottom. Or on a beer stall such a name is “Buchen House”, completely in Russian.

The same example illustrates the ability of copywriters to invent neologisms . As in advertising about cheburaktsia or about Japanese sushi. Neologisms with national flavor.

Morphology.

When analyzing the advertising text in terms of morphology, we observed the frequency of the use of parts of speech and their forms. The most common was the verb in the imperative mood - 20%. These are verbs: get, get out, take, think, look, catch, wait, be, use, believe, don't give, become, do, buy, bury, give in. The adjective in the degree of comparison is used much less frequently. For example, "Children's fashion is brighter than adult" and "Yogurt is more alive than Pinocchio." Some slogans are constructed as nominative sentences, i.e. use nominative nouns, but about them in the syntax section.

Syntax.

Syntax is closely related to morphology, they make up the grammar of the language. What features of syntactic constructions have we noted. The most numerous are incentive sentences, the basis of which is the imperative mood verb (we talked about them in the previous section). Then there are exclamatory sentences in frequency. The purpose of such offers in advertising is not to leave the buyer indifferent, to help him make a “discovery” in choosing a product, to remind him what joy and what relief this purchase will bring him. For example, “A girl’s best friend is a fish!”, “Everyone rides us. And we are glad! Often the slogan is built as a dialogue using interrogative and exclamatory sentences. For example, “Why wait? It's time to buy! or “Stolen? It was necessary to put CLIFFORD! Despite the fact that the texts of advertisements should be short, they often use complex sentences. For example, “4G is waiting for those who do not wait”, “Use a hair dryer that does not dry”, “Believe me, you are stronger than you seem”, “You are a good person if you took a picture of a cheburek!”. Among simple sentences, we note sentences with a complicating component. For example, "It melts in your mouth, not in the heat", "I'm waiting for a smart, gentle, well-aimed" - homogeneous members. “My dear, I have abracadabra in my coffee!” - appeal. And as mentioned above, some sentences are built using only nouns in the nominative case, the so-called nominative sentences. But there are not many of them. The use of punctuation marks is sometimes ignored altogether, apparently, the advertising slogan is presented in the form of a headline. But of the ones we found, the most common ones are the exclamation mark, the question mark, and the comma. We also saw the dash “Children's fashion is brighter than adult fashion” and the ellipsis “We are driven ... And we are glad!”.

Word formation.

The main words of advertising, which carry the idea itself, are often formed using the prefix super. It means the highest quality, increased, enhanced action. For example, “Take a super photo!”, “Super prices for supermen!”, “Super ultra mega duper cool prices!”.

Graphic arts.

In some cases, to achieve greater effect in advertising texts, an unusual graphic style of the word is used. For example, the first part of the phrase "Returning visual acuity" is blurry, as if it is read by a person with poor eyesight. In the slogan "Think fresh!" the last word is written the other way around, apparently, this is a “fresh”, non-standard approach in presenting information. The sentence "Always a Great Choice of Clothes" is nothing more than an acrostic, which apparently suggests the name of the store owner. There are five O's in the word "Then" in a row. The length of the sound indicates long-term lending services in favor of the client. In the phrase “Tune in for success”, the word STROY is highlighted in capital letters and in a different font, which indicates the company providing services, StroyCity.

Unusual move.

The authors of advertising texts are constantly in search of a non-standard presentation of information, a new scheme for constructing a phrase. We found interesting options, some of them could be attributed to an erroneous, from the point of view of logic, construction or regarded as a provocation regarding moral norms. For example, “Bury your mother-in-law in the sand” is offered by a travel agency, hinting at a beach holiday. “I will make friends with your borscht,” says sour cream, asserting the need for his presence. “Want a bad site? Then don't call us!" Some copywriters build advertising phrases in verse. Such texts are closest to everyday life, tk. their goal is not to impress with a high style, but rather to entertain. You can easily imagine the addressee of such advertising. For example, “The best pizza. It’s impossible not to fall in love! ”,“ Here they will feed deliciously, Here is a forest and peace. Even your mother-in-law and his wife will not find you here”, “Small wholesaler Vasily buys effortlessly”, “Become handsome and gentle with a fresh sock”, “I can’t sell my new Opel without tears and snot”. The last text is more like an ad, but a promotional move was used to attract a buyer.

Mistakes.

The next group that we have identified, perhaps, can be considered anti-advertising. Because for a cultured and educated person, information about a product is comparable to the quality of the product. If we see text with errors, it makes us distrustful.

Conclusion

Our observations have shown that when creating an advertising slogan, the possibilities of all levels of the language are widely used: lexical, morphological, derivational, graphic, syntactic, and even the creation of a poetic text. But we must remember about moderation and appropriateness, we must maintain a sense of taste and style. We must remember the main purpose of advertising:Target its not to entertain the viewer, but to sell him a product 2 . David Ogilvie made high demands on advertisers:A good surgeon differs from a mediocre one in that he knows a lot more ... It's the same with advertising managers. Good managers know much more than others.Especially in spelling and punctuation.

How do copywriters see their client? The advertising presented in our work is street, simple, designed for the average city dweller, for his average income, who purchases the necessary goods and services at economy prices. He can be carried away with accompanying gifts. For example, you bought a laptop - get headphones in your ear. Communication with him is built simply, his problems arouse sympathy: is it hard with your mother-in-law? Here's a cheap ticket for her. Tired of family problems? Here is a quiet motel where you can eat, relax and hide from your wife. And there are elite goods for wealthy customers, and hence elite advertising.

findings

The expressive possibilities of the language of advertising include:

Personification, metonymy, pun, use of phraseological units, neologisms and borrowed words;
The use of imperative verbs;
The use of incentive, exclamatory and interrogative sentences;
The use of complex sentences;
The use of simple sentences with a complicating component;
The use of foreign prefixes is super, mega;
Use of non-standard, unusual approaches in the transmission of advertising information;
Using graphic style as a technique;
There are cases of erroneous writing of texts in terms of spelling and punctuation.

Literature

One and the same thought can be expressed using independent simple sentences and complex ones. However, depending on the sum of which sentences the thought is expressed, the stylistic character of the utterance completely changes.

The purpose of simple sentences is to emphasize the independent, independent nature of the parts of the statement, highlighting individual details. In addition, the statement, expressed in simple sentences, has the character of concise, often casual colloquial speech. Such is the prose of A.S. Pushkin, A.P. Chekhov.

Thoughts expressed with the help of complex sentences are carefully linked with each other into a single complex whole and act as its organic elements. Compound sentences provide the richest and most diverse possibilities for expressing semantic relationships and syntactic links between parts of an utterance.

Analyzing the figurative and expressive means of syntax, it is necessary to find out what role various elements of poetic syntax, stylistic figures, play.

Using Reception inversions(permutation of words) leads to a logical or emotional selection of those elements of the statement that are most significant for the author in a given context and on which he wants to draw the attention of readers, for example, in I.S. Turgenev: What was waiting for this warm, this sleepy night? She waited for the sound; this sensitive silence waited for a living voice - but everything was silent.

Asyndeton gives speech speed, swiftness, energy: Swede, Russian - stabs, cuts, cuts. Drum beat, clicks, rattle ... (P.), a polyunion slows down speech, makes it the main one: Both boring and sad, and there is no one to give a hand in a moment of spiritual hardship ... (L.).

One of the brightest syntactic means - paired connection of homogeneous members of the sentence. This technique is used in texts of artistic and journalistic styles as one of the expressive language means. Very often, antonyms act as homogeneous members: Nothing is given by itself, without effort and will, without sacrifice and labor. (A. Herzen).

Parceling- dismemberment of a single syntactic structure of a sentence for the purpose of a more emotional, vivid perception of it: The child must be taught to feel. beauty. Of people. All living things around.

Anaphora (lexical repetition)	Repeat parts in early lines (unity)	This morning, this joy, This power and day and light, This blue vault, This cry and strings, These flies, these birds ...
Epiphora (lexical repetition)	Repetition of parts, the same syntactic construction end proposals	I have been going to you all my life. I have believed in you all my life. I have loved you all my life.
Compositional joint (lexical repetition)	The repetition at the beginning of a new sentence of a word or words from the previous sentence, usually ending it	The Motherland did everything for me. Motherland taught me, raised me, gave me a start in life. A life I'm proud of.
Antithesis	opposition	The hair is long - the mind is short; Yesterday I was suffocating with happiness, and today I am screaming in pain.
gradation	The location of synonyms according to the degree of increase or weakening of the sign	Huge blue eyes shone on his face, burned, shone. But you must understand this loneliness, accept it, make friends with it and overcome it spiritually...
Oxymoron	A combination of words that contradict each other, logically exclude each other	Look, it's fun for her to be sad so elegantly naked. Dead souls, living corpse, hot snow
Inversion	Changing the usual word order. Usually: definition + subject + circumstance + verb-predicate + object (e.g. Autumn rain was loudly pounding on the roof)	He came - he came; It was annoying, they were waiting for the battle; He shot past the doorman like an arrow up the stone steps. - (cf. "he flew past the porter like an arrow")
Parallelism	Comparison in juxtaposition form	Parallelism happens straight: Grass overgrown graves- overgrows with age pain and negative, in which the coincidence of the main features of the compared phenomena is emphasized: It’s not the wind that bends the branch, It’s not the oak forest that makes noise - That my heart is groaning, Like an autumn leaf is trembling.
Ellipsis	The omission of some member of the sentence, which is easily recovered from the context	Men - for axes! (Missed the word "taken")
Parceling	Dividing a single utterance into independent sentences	And again Gulliver. Costs. slouching.
Polyunion (polysyndeton)	Homogeneous members or sentences connected by repeating unions	What a strange, enticing, carrying, wonderful in the word road! And how wonderful she herself is, this road.
Asyndeton	Homogeneous members of the proposal are connected without the help of unions	Swede, Russian stabs, cuts, cuts ...
Rhetorical exclamation	An exclamation that reinforces the expression of feelings in the text	Who has not scolded the stationmasters!
Rhetorical question	A question that is asked not to give or receive an answer to it, but with the aim of emotionally influencing the reader	What Russian doesn't like to drive fast? = "all Russians love"
Rhetorical address	Appeal directed not to a real interlocutor, but to the subject of an artistic image	Farewell, unwashed Russia!
Default	Deliberate interruption of speech, based on the guess of the reader, who must mentally finish the phrase	But listen: if I owe you... I own a dagger, / I was born near the Caucasus.

Check yourself!

Exercise 1.

Find cases of parallelism, multi-union and non-union. Define their functions in texts.

1) Black raven in the snowy twilight
Black velvet on swarthy shoulders.(A. A. Blok)

2) The hour hand approaches midnight.
Candles flared up like a wave of light.
Thoughts were stirred up in a dark wave.
Happy New Year, heart!(A. A. Blok)

3) No, I will positively say that there was no poet with such universal responsiveness as Pushkin, and the point is not only in responsiveness, but in its amazing depth, but in the reincarnation of one’s spirit into the spirit of foreign peoples, the reincarnation is almost perfect.(F. M. Dostoevsky)

4) If such masters as Akhmatova or Zamyatin are walled up alive for life, condemned to the grave to create in silence, not hearing an echo of what they have written, this is not only their personal misfortune, but the grief of the whole nation, but a danger to the whole nation.(A. I. Solzhenitsyn)

5) Each of them (who died during the Great Patriotic War) was a whole world. And this world went out forever. Together with him, unfulfilled dreams, unplayed weddings, unborn children, unsung songs, unbuilt houses, unwritten books lay in the graves.(V. V. Bykov)

Topic 7. Text. Speech styles