Expressive possibilities of poetic language. "expressive possibilities of advertising language"

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. Such use of singular forms is accompanied by the appearance of additional shades, most often negative ones: Moscow, burnt by fire, is given away to French (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 at the Napoleons (A. Pushkin); Molchalins are blissful in the world (A. Griboyedov). Usual or occasional use of plural nouns singularia tantum can serve as a means of expressing disdain: I decided to run courses, study electricity, all sorts of oxygen! (V. Veresaev).

Pronouns are characterized by richness and variety of emotional and expressive shades. For example, the pronouns some, some, some, used when naming a person, introduce a tinge of disdain into speech (some 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. We are darkness, and darkness, and darkness. Try it, fight with us! (A. Blok); We stand against the society whose interests you are ordered to defend, as irreconcilable 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, the forms of the 3rd person singular can be used, which gives the statement a disparaging connotation (He is still arguing!), 1st 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 perfect tense 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 disappeared completely (M. Gorky).

There are many expressive forms of inclinations (May there always be sunshine!; Long live peace in 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'll call tomorrow!); the infinitive in the meaning of the imperative mood expresses categoricalness (Stop the arms race!; Prohibit testing of atomic weapons!). Strengthening the expression of the verb in the imperative mood is facilitated by the particles yes, let, well, well, -ka, etc.: - Well, is it sweet, my friend. // Judge in simplicity (A. Tvardovsky); Shut up!; So, say! one

The expressive possibilities of syntax are associated primarily with the use of stylistic figures (figures of speech, syntactic constructions): anaphora, epiphora, antitheses, gradations, inversions, parallelism, ellipsis, silence, non-union, multi-union, etc. 2

The expressive possibilities of syntactic constructions, as a rule, are closely connected with the elephants that fill them, with their semantics and stylistic coloring 3 . Thus, the stylistic figure of antithesis, as noted above, 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 the pine.

That pine is clumsy and old,

That pine is harsh and wise,

That pine is sad and calm,

Quieter than the jets in the big, big river,

Like a mother

me with a coniferous palm

Gently caresses his cheek.

(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 [German] was there, in a hostile world, which he did not recognize, despised a l, n e n a v i d e l (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. See, 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 a 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: She is a young woman, a Greek woman, suspected of loving freedom (from the newspapers). The phrase suspected of loving freedom gives a clear idea of the situation in which love of freedom is considered a very suspicious quality.

Since the time of Ancient Greece, a special semantic type of phrases has been known - oxymoron (Greek oxymoron - witty-silly), i.e. "a stylistic figure consisting in combining two concepts that contradict each other, logically excluding one another" 4 (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

S u e d o e

B o l v o s t o r g a,

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 "The 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 manifests itself 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. For example, A. S. Pushkin’s poem “I loved you” is constructed in this way, 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.

Notes:

1. For more information about the expressive possibilities of the pronoun and the verb, see: Rosenthal D. E. Practical stylistics of the Russian language; Gvozdev A. N. Essays on the style of the Russian language. M., 1965; Efimov A.I. Stylistics of the Russian language; Golub I. B. Grammatical stylistics of the modern Russian language. M., 1989.

2. See about this in the dictionaries of linguistic terms, as well as in the book: Rosenthal D. E. Practical stylistics of the Russian language. Ch. 25.

3. Therefore, in some cases, obviously, it would be more accurate to speak of semantic-syntactic means of expression.

4. Rosenthal D. E., Telenkova M. A. Dictionary-reference book of linguistic terms. S. 241.

T.P. Pleshchenko, N.V. Fedotova, R.G. Chechet. Stylistics and culture of speech - Mn., 2001.

Starozelenovskaya secondary school - MOU

Plan - abstract

Russian language lesson in 11th grade

« Facilitiespictorial and expressive…”

Preparedteacher of Russian language and literature

Starozelenovskaya secondary school-MOU

Khabibullina Ravil Ravilovna

2015

Russian language lesson in grade 11 "Fine and expressive ..."

Goals:

repeat the figurative and expressive means of the language (terms, usage);

to train the ability to find paths and stylistic figures in the text, to prepare students for completing the USE task;

to carry out aesthetic education, the need to speak correctly and beautifully.

Lesson type : combined

Lesson form: group, frontal.

Lesson Methods : partially - search, research.

Lesson equipment : computer, presentation, texts of works for analysis, cards

Lesson steps:

During the classes : 1 Presentation of the topic and objectives of the lesson.

Classical music sounds. Introduction by the teacher. “In the beginning was the Word,” says an ancient wise book.Since ancient times, the word had great power. It was then that faith in the magical power of the word arose. “The word can do everything!” the ancients said.

The abyss of stars has opened up,

The stars have no number, the abyss is the bottom

What picture appeared before you?

Each word, in addition to its main meaning, is connected by numerous threads with a number of images and emotions that easily emerge when evaluating a word from the point of view of its expressiveness.

In order to have an emotional impact and for aesthetic purposes, in order to create imagery and expressiveness, masters of the word use the means and techniques of expressiveness of speech. You and I, language learners, must remember that the word is the basis of our spirituality, our culture.

What is wealth, beauty, strength,language expressiveness ?!

The answer to this question can be the words of K. Paustovsky ..., which we will take as an epigraph to the lesson.

In every word there is an abyss of images.
K. Paustovsky

- How can we determine the topic of our lesson?

- What are the challenges ahead of us?

Write the topic and epigraph on the board and in a notebook.

Questions:

What groups are the visual and expressive means of the language divided into? (tropes and stylistic figures).

I invite you to remember which means are tropes and which are figures of speech. There are 2 tablets attached to the board: paths and figures of speech. On the teacher's table there are tablets with the names of the means of the language.(Students come out who quickly and correctly correlate these names with the main group, you can attach them to double-sided tape. You can go out in a chain. The result is such a design on the board)

- What are trails?

A trope is a turn of speech in which a word or expression is used in a figurative sense. The path is based on a comparison of two concepts that seem close to us in some respect ”(Rosenthal D.E., p. 198).

What are trails used for?

Paths help to vividly and figuratively depict objects and phenomena of reality, they are associated associatively with the sensations that we receive with the help of the senses. These funds can be calledpictorial.

Question:What is the role of stylistic figures? (“They enhance the expressiveness of the utterance with a special organization of language material, primarily with special syntax” (Rosenthal D.E. str. 107). These means can be calledexpressive.

2.Terminological dictation : I read the definition, you write down the name of the visual medium in a column.

1. The same construction of neighboring sentences. (Syntax parallelism ).

2. On the one hand, a speech error is the unjustified use of words with the same root (an accident happened), on the other hand, it is a means of emotional influence to emphasize any phenomenon, signTautology.

3. Reverse word order(Inversion)

4. Artistic understatement(Litotes)

5. Expression containing a different, hidden meaning, allegory(Allegory). 6. Comparison of two objects or phenomena on the basis of a common feature for them(Comparison).

7. Words intended to denote special concepts of science, technology, etc. (terms).

8. Hidden mockery(Irony).

9. It is in the context that these words are opposite, out of context this opposite is lost (contextual antonyms).

10. Opposition, reception of contrast(Antithesis

If you successfully completed the task, then by initial letters you should get the wordSTYLISTICS .

3 . Conversation

- Stylistics as a science, as an independent branch, appeared at the beginning of the 20th century. But a person has long been interested not only in WHAT he says, but also HOW he says it.

STYLISTICS - a section of linguistics that studies the principles of choice and ways of organizing language units into a single semantic whole or text

The doctrine of the expressive means of language.

The totality of artistic means of the language of some literary work, writer, literary school, era.

- What is the relation of stylistics to the listed terms? One of the aspects of stylistics is the study of expressive means of language).

II .Development of the ability to find visual and expressive means in texts.

1. Indicate which means of expression is "hidden" in the sentence. The material can be divided into 2 options for 15 sentences.

He soon quarreled with the girl. And here's why. (G. Uspensky).Parceling.

Work with texts (in groups). Texts printed

Teacher. Each literary text represents this or that information and always pursues certain practical goals. Telling something, the writer at the same time influences the reader. The strength of the impact depends on the degree of artistry of the work, its figurative and expressive texture. Our perception of the text depends on the degree of its understanding on the degree of its perception.

Title the text. What picture appeared before you?

What tropes and stylistic figures did the author use to express it?

Representatives of the group go to the screen on which the text is displayed, read expressively, report the results of the work.

1 group. The sun had not yet risen, but half the sky was already bathed in pale pink light. The transparent and calm river lay like a huge mirror in the green frame of the wet meadows. Light pink wrinkles slightly furrowed its smooth surface. A. Kuprin.

2 group. From early morning the sky is clear; the morning dawn does not burn with fire: it spreads with a gentle blush. The sun is not fiery, not incandescent, as during a sultry drought, not dull - crimson, as before a storm, but bright and welcomingly radiant ... The upper, thin layer of a stretched cloud will sparkle with snakes; their brilliance is like that of hammered silver. I.S. Turgenev

Control: completing the assignment in the USE format

And now I propose to complete the task in the USE format, as it will look like on the exam (material from the work "Texts of Solzhenitsyn's works in Russian language lessons")

Duckling

1) A small yellow duck, comically crouching on the wet grass with a whitish belly and almost falling from its thin legs, runs in front of me and squeaks: “Where is my mother? Where are all of mine?

2) And he didn’t have a mother at all, but a chicken: they put duck eggs on her, she sat them out between her own, warmed everyone equally. 3) Now, before the bad weather, their house - an inverted basket without a bottom, was carried under a canopy, covered with burlap. 4) Everyone is there, but this one is lost. 5) Come on, little one, come to me in the palm of your hand.

6) And what is the soul kept here? 7) It does not weigh at all, the eyes are black - like beads, the legs are sparrow's, squeeze it a little - and no. 8) Meanwhile - warm. 9) And his beak is pale pink, like manicured, already spread out. 10) And the paws are already webbed, and yellow in their color, and the fluffy porches are already sticking out. 11) And even he distinguished himself from his brothers in character.

12) And we - we will soon fly to Venus. 13) Now, if we all take it together, we will plow the whole world in twenty minutes.

14) But never! - we will never, with all our atomic power, compose in a flask, and even if we are given feathers and bones, we will not mount this weightless pathetic yellow duck ...

(according to A.I. Solzhenitsyn)

20. In what sentence is the author's irony expressed over the desire of contemporaries to subjugate the world of space?

21. What type of speech is presented in sentences 6-11 of the text?

all types of speech

description and narration

description

reasoning

22. Which sentence uses author's neologisms?

Read a fragment of a review based on the text you read. This fragment examines the language features of the text. Some terms used in the review are missing. Fill in the gaps with the numbers corresponding to the number of the term from the list. If you do not know which number from the list should be in place of the gap, write the number 0.

“In the miniature “Duckling”, Solzhenitsyn contrasts the beauty, harmony and uniqueness of nature embodied in a small duckling with the world of modern technology, which he perceives as something ugly and soulless, deforming a person’s sense of beauty. To confirm this main idea of the text, the author resorts to _____. Creating the image of a duckling, the author uses ___ (“warm”, “abdomen”, “beads”, “beak”, etc.), ____ (“weightless pathetic yellow duckling”, “black eyes”, “sparrow legs”, etc.) . Solzhenitsyn's dislike formodern technology is also transmitted through ____ (proposal 13)."

List of terms:

Lesson summary . So, the arsenal of figurative and expressive means of the Russian language is exceptionally rich and diverse. Tropes and stylistic figures are designed to decorate speech, to make it accurate, clear, expressive, such that the caress of which can make your head spin.

Conclusion: Working on today's topic, we once again became convinced of the richness and diversity of the resources of the Russian language, its figurative means. It is necessary to learn from the great artists of the word to use this property wisely and economically, making your speech figurative and beautiful.

Lesson Summary: In six months, you will be graduates of the school. I wish thatknowledge of the means of expression was for you not only a necessity to pass an exam in the Russian language, but also a need to speak vividly, figuratively; so that you use in your speech the entire arsenal of figurative and expressive words, this “golden reserve” of our language. “There are no such sounds, colors, images and thoughts - complex and simple - for which there would be no exact expression in our language,” said K.G. Paustovsky.

I want to wish you all to enter universities, the cradle of knowledge, and become hard workers of science within the walls of the best universities in the country. It will bear fruit

Comment on my parting word to you from the point of view of the use of figurative and expressive means.I want to wish you all to entercradles of knowledge , (metaphor, paraphrase) and get diligentworkers of science (metaphor) in the walls (metonymy) the best universities in the country. This iswill bear good fruit (metaphor).

Reflection

Now let's turn to the reflective screen. I propose to choose the phrase that you now want to continue.

Today I found out...

It was interesting…

I realized that...

I managed…

Now I can…

I wanted…

I was able...

I want to know more about…

Homework :

The students are given the following presentation papers:

Metaphor is the queen of paths.

A huge hyperbole and a tiny litote.

The epithet is excellent.

Everything is rhetorical: an appeal, an exclamation, a question.

Descents and ascents of gradation.

Anaphora and epiphora are stylistic antonyms.

Comparison possibilities.

Choose a topic for your research presentation.

I would like the knowledge of expressive means to be not only a necessity for you to pass an exam in the Russian language, but also a need to speak vividly, figuratively.

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 recording 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 “Girl with a Jug” fountain, 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.”) Thus, the poet, using sound painting, combined in such a small poem a short-term action, eternity.)

Homework. Prepare a written coherent answer about the phonetic means of sound harmony in 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.

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, and 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

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 ¾ negative: Moscow, burned by fire, is given away to French (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 at the Napoleons (A. Pushkin); Molchalins are blissful in the world (A. Griboyedov). Usual or occasional use of plural nouns singularia tantum can serve as a means of expressing disdain: I decided to run courses, study electricity, all sorts of oxygen! (V. Veresaev).

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 ¾ 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 ¾ fell down like cockroaches.

Special expressive shades are created by contrasting the pronouns we ¾ you, our ¾ yours while emphasizing two camps, two opinions, views, etc.: Millions of you. We are ¾ of darkness, and darkness, and darkness. Try it, fight with us! (A. Blok); We stand against the society whose interests you are ordered to defend, as irreconcilable enemies of it and yours, and reconciliation between us is impossible until we win ... You cannot give up the oppression of prejudices and habits, ¾ of the oppression that spiritually killed you , ¾ nothing prevents us from being internally free, ¾ the poisons with which you poison us are weaker than those antidotes that you ¾ unwittingly ¾ 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, the forms of the 3rd person singular can be used, which gives the statement a disparaging connotation (He is still arguing!), 1st person plural (Well, how are we resting? ¾ 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 perfect tense 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: ¾ Listen, let me go! Drop off somewhere! I disappeared completely (M. Gorky).

There are many expressive forms of inclinations (May there always be sunshine!; Long live peace in the world!). Additional semantic and emotionally expressive shades appear when some forms of mood 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, refusal (You will call tomorrow!); the infinitive in the meaning of the imperative mood expresses categoricalness (Stop arms race!; Prohibit testing of atomic weapons!). The particles yes, let, well, come on, etc. contribute to the strengthening of the expression of the verb in the imperative mood: ¾ Well, is it sweet, my friend. // Judge in simplicity ( A. Tvardovsky); Shut up!; Well, tell me!

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, as noted above, is often created by using antonyms; the lexical basis of the antithesis is ¾ antonymy, and the syntactic ¾ 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 the pine.

That pine is clumsy and old,

That pine is harsh and wise,

That pine is sad and calm,

Quieter than the jets in the big, big river,

Like a mother

me with a coniferous palm

Gently caresses his cheek.

(V. Fedorov)

Trusting Death was wrapped around the finger, She lingered, 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 ¾ trusting; death was wrapped around a 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: She is a ¾ young woman, a Greek woman, suspected of loving freedom (from newspapers). The phrase suspected of loving freedom gives a clear idea of the situation in which love of freedom is considered a very suspicious quality.

Since the time of Ancient Greece, a special semantic type of phrases has been known - ¾ oxymoron (Greek.

Oxymoron ¾ 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:

(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 a bright expressive coloring and semantic connotations, and only one paraphrase (Love, perhaps, // In my soul 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. So, 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 amazement // Neither for horns, nor for masters (V. Fedorov).

An emotional and 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's sentence has come true! (M. Lermontov), segmented and packaged structures: Winter ¾ 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. For example, let's compare an excerpt from the story of A.P. Chekhov "Dear Lessons" in the first and second editions:

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, ¾ // Let's say: we won't let // Re-ignite the war (A. Zharov); Eh, roads! // Dust and fog, // Cold, anxiety // Yes, steppe weeds (L. Oshanin); ¾ 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 boringly 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 has been developed for using interrogative sentences - 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 ratio 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.