The language of fiction occupies a special place in the system of speech functioning. One can hardly agree with those who consider it one of the functional styles of the literary language. After all, in artistic speech all linguistic means are used: both functional varieties of literary speech and various layers of vocabulary, including vernaculars, dialectisms, slang, professionalisms and jargons. The selection and use of these means is carried out in accordance with the aesthetic tasks that the writer solves in a work of art. That is why the language of fiction has its own specifics.

Imagery, i.e. verbal depiction of people, events, phenomena in the form of visible, objective pictures that evoke certain feelings in the reader.

Subjectivity, since an image is not only a verbal image of the world, but also a special form of expression of the author’s attitude towards what is depicted.

The multifaceted structure of a work of art, which combines different functional styles and functional-semantic types of speech.

Possessing a wide variety of possibilities and linguistic means, fiction contributes to the aesthetic education of readers, the development of their taste, linguistic intuition, general and speech culture.

Stylistic norms

Literary language is a set of norms that cover all aspects of its system. Accentological norms regulate the placement of stress in a word, while orthoepic norms do not allow distortion of its sound image. Lexical norms regulate the use of words, phraseological norms regulate the use of stable figures of speech. Spelling is a set of spelling norms, divided into spelling and punctuation. Word formation norms determine the principles of combining morphemes. Morphological - do not allow the use of those word forms that are outside the boundaries of the literary language; syntactic norms regulate the rules for the arrangement of words in the structure of a phrase, sentence, text. However, in speech use, linguistic units - words, word forms, sentences - are assigned additional functional and stylistic meanings that determine in what communication situation they are used.

Let's compare two statements: 1. Due to endless rains this summer we have a bad harvest. 2. Due to prolonged rains and large amounts of precipitation in the summer, the current year turned out to be a poor harvest.

Each of these sentences reports the same fact.

However, it is obvious that the first example indicates an everyday communication situation. The sentence has an elliptical construction (the predicate is missing), has the meaning of the actual time - this summer, contains an emotional attitude to the statement - grief, concern, implies the presence of a listener (the addressee of the speech) - with us (not with them). Before us is a characteristic form of colloquial speech.

The second sentence is emphatically impersonal (subjectless) in nature, it is without emotion. It uses speech cliches - due to prolonged rains, speech standards - the current year, the summer period, etc. - characteristic forms of scientific speech. Thus, both examples, in addition to the same information, also contain additional information about their style.

Practical stylistics studies the differences in parallel ways of expressing the same information. And stylistic norms determine the norms of speech organization depending on the scope of its application and the purpose of the statement. A stylistic norm is a set of rules that determine the appropriateness, correctness and appropriateness of using linguistic means depending on their functioning in speech, i.e. taking into account the scope, purpose and conditions of the statement.

Stylistic norms correlate certain linguistic means with a certain sphere of speech activity and thus consolidate the functional and stylistic variation of individual elements of the literary language. They are defined:

· practice of skillful speech;

· requirements of genre-speech and social-speech differentiation;

· linguistic intuition, allowing the appropriate use of linguistic means.

At the same time, stylistic norms are based on all structural and linguistic norms of the literary language and require their strict observance.

The ability to select the desired language means from a number of others is provided by synonymy. The phenomenon of synonymy extends to all stylistic resources of speech - vocabulary, phraseology, word formation, morphology and syntax. Only mastery of the stylistic resources of speech can ensure expressiveness, richness and accuracy of speech.

Vocabulary provides a particularly wide selection of the desired stylistic means. The so-called stylistic synonyms differ, first of all, in their stylistic coloring, i.e. area of ​​application, although it happens that they contain different semantic shades: eyes (neutral), eyes (book), peepers (conversational); huge (neutral), gigantic (book); in vain (neutral), in vain (book), in vain, for nothing (colloquial). Phraseological units are also stylistically fixed. The use of one of a number of possible ones is also determined by the situation and context of the statement: light spectrum (scientific), do not leave the pages (publ.), just a stone's throw (colloquial). Word-forming elements of speech can also have a stylistic reference and are used in words that are stylistically differentiated: anti-national, illogical (book); daring, cute (colloquial); type, capitalism, meaningfulness (book) and kids, talker, bro (colloquial). A similar example can be provided by parallel morphological forms of speech. Thus, the variants of the case forms of nouns separate them into different styles of speech: “We say not “storms”, but “storms” ... “Winds” - not “winds” - drive us crazy” (V. Vysotsky). When comparing pairs using adjectives - full and short - the stylistic specialization of short as bookish is obvious: He is beautiful - he is beautiful. In parallel syntactic constructions, the stylistic reference is especially clearly manifested - participial and participial phrases are bookish forms of speech: The student learned his lessons and went to a friend (neutral). Having learned his lessons, the student went for a walk. The student, having learned his lessons, went for a walk (book).

It is the mastery of the stylistic resources of speech that is the key to stylistic literacy. But in general - the speech culture of a native speaker.

Bearing in mind stylistic norms, we need to remember not only the stylistic shades of linguistic means, but also the expressive and emotional ones. Among such means we can note words with emotional and evaluative meanings: diminutive - rug, hut; affectionate - little sister, kind; dismissive - lazy person, drunkard, etc. So are syntactic constructions expressing attitudes towards a statement. Thus, admiration is emphasized by the exclamation: “What a delight these fairy tales are!” (A.S. Pushkin), inversion: “Wonderful is the Dnieper in calm weather...” (N.V. Gogol), exclamation, question: “Eh, three, bird-three! Who invented you? (N.V. Gogol)

It is quite obvious that linguistic means with stylistic overtones predominate in the area where they do not carry an emotional load - official business, scientific speech. Where the personality of the speaker is manifested, where the purpose of the utterance is not only a message, but also an impact and, even more so, communication, emotional means of speech are widely used. And their choice is made taking into account the greater or lesser dependence on functional styles.

However, when talking about stylistic norms, one must keep in mind not only differentiation, but also the integration of linguistic means within functional styles. In Timiryazev’s statement, “A plant cell is a trap, it’s a snare... In fact, what kind of bodies does a cell find in the environment?” - words with evaluative (cell), figurative (trap, snare) meanings, repetitions, and interrogative intonation, uncharacteristic of the scientific style, were used.

The newspaper headlines (Izvestia) deliberately use colloquial figures of speech: “A purely concrete redistribution”, “The Bank of Russia has overeaten the currency”, “Western spies caused the rustle”. There is no violation of the stylistic norm in these statements, because the inclusion of “alien” elements of speech is appropriate and appropriate. Thanks to their use, the scientist convinces us of the unique properties of living matter. Journalist - creates a tone of confidential, “in-house” communication with the reader. A conscious and motivated violation of stylistic unity may be a feature of the author’s individual style.

It should be remembered that the use of speech means uncharacteristic for a given style requires a well-developed linguistic and stylistic sense and knowledge of the norms of functional styles. In their absence, such “inclusions” should be considered a violation of the stylistic norm and lead to stylistic errors (they are often called stylistic defects). These include only that which destroys the unity of style, makes the statement inappropriate or inexpressive, i.e. such a selection of linguistic means that does not correspond to a specific communication situation.

The following types of stylistic errors are distinguished:

The use of foreign style words (words of a different functional and stylistic coloring), for example: In spring it is good everywhere: in an open field, in a birch grove, as well as in pine and mixed forests. (For this phrase, neutral in style, the highlighted words that tend to the scientific style are foreign-style). This is especially often manifested in the choice of means of interphrase communication that are “foreign” for a given context. For example, in a descriptive (relatively speaking, artistic) context, logical means of communication are used, characteristic of official business and scientific styles: When Ostap was led to execution, he walked with a feather and with pride. His eyes looked into the distance. Despite the fact that his hands were in chains, he clenched them into a fist. This means that Ostap was unshakable;

The mixture of styles (multiple styles) is manifested in an unmotivated combination of means of speech characteristic of different functional styles: Lopakhin is a man of action, cool. Boris is a weakling, Katerina was simply unlucky with him. Root vegetables include potatoes, carrots and beetroot. (Colloquial means of speech have been introduced into the book style.) Stone fruits have bloomed in our garden. Give me atmosphere (A.P. Chekhov). (Terms used in a conversational style.);

Inappropriate use of emotionally charged words and constructions. In the sentence We owe everything to our grandparents, who protected us from fascism, the highlighted words are stylistically inappropriate, since they should be used only in speech situations that reflect the family nature of communication;

The use of speech cliches, clericalism, which are words and expressions, impoverishes speech, fills it with stereotyped phrases, and interferes with lively presentation. Clericalisms are standard formulas of official business speech, the use of which in business papers is appropriate and convenient. In other speech styles, often and monotonously repeated without taking into account the context, clericalisms play a negative role, since they make speech inexpressive and poor, clogging it with verbal patterns: Consider from an angle, cover all children with cultural work, put it at the forefront, rise to the task level.

The reason for such errors is insufficient knowledge of the resources of the Russian language and an undeveloped linguistic sense.

Thus, one of the conditions for improving speech culture is attention to issues of communicative expediency in the selection of linguistic means, as well as to stylistic culture in general.

The structure of a work of art is characterized by diversity. Researchers have noticed that figuratively expressive language means are directly dependent, first of all, on functional and semantic types of speech - description, narration, reasoning: in a literary text, the image of portraits of heroes and their reasoning are conveyed by various lexical and syntactic means. Research by M. M. Bakhtin 1 has shown that a prose work is inherently dialogical: it contains the voices of the author and characters, which relate to each other in an unusually complex manner. Therefore, it becomes fundamentally important for linguists to consider the ways in which the characters’ speech is depicted and how it interacts with the narrator’s speech. The stylistic use of elements of colloquial, official business and scientific styles in the text is directly dependent on the contrast between the characters’ speech and the author’s. Thus, a special linguistic structure is created, sometimes including entire fragments of various functional styles. In the structure of a work of art, the author’s speech is usually distinguished, direct, improperly authorial, and improperly direct 2.

In direct speech, the conversational style is most actively manifested. The author's speech, reflecting reality external to the author, is constructed with a predominance of book and written elements. In non-author-direct and non-direct speech, the actual author's speech and the speech of the characters are combined in various proportions. In addition, the numerous stylistic varieties that exist in fiction are largely explained by the identification of three substyles within the style of fiction: prose, poetic, and drama. Thus, in no other functional style is there such a deep interaction of all stylistic resources. However, within the framework of a work of art, only individual elements of other styles are used, most of them are not widely reflected here. In addition, in artistic speech such elements function in a special, aesthetic function, obeying the law of aesthetic organization of content and form.

In other style systems, the aesthetic function does not have such a large share and does not develop the qualitative originality that is typical for it in the system of a work of art. The communicative function of the style of fiction is manifested in the fact that information about the artistic world of the work merges with information about the world of reality. The aesthetic (otherwise known as artistic) function closely interacts with the communicative one, and this interaction leads to the fact that in the language of a work of art the word not only conveys some content, meaning, but also has an emotional impact on the reader: causing him to have certain thoughts, ideas, it makes the reader an empathizer and, to some extent, a participant in the events being written off.

Thanks to the aesthetic function associated with the concrete sensory perception of reality, in artistic speech such types of words, forms and constructions are used in which the category of concreteness is manifested. According to M.N. Kozhina, abstract and concrete speech forms in scientific speech make up 76% and 24%, in artistic speech - 30% and 70% - as we see, the data is diametrically opposite.

In the style of fiction, all facial forms and all personal pronouns are used; the latter usually indicate a person or a specific object, and not abstract concepts, as in the scientific style. The figurative uses of words are also activated here as the most specific. In artistic speech, there are three times fewer indefinite personal forms of the verb, as more generalized, than in scientific speech, and nine times less than in official business speech 3 .

In the style of fiction, a low frequency of the use of neuter words with an abstract meaning and a high frequency of specific masculine and feminine nouns are observed. Abstract words acquire a concrete figurative meaning (as a result of metaphorization). The inherent dynamics of artistic speech (in contrast to the static characteristics of scientific and official business speech) is manifested in the high frequency of use of verbs: it is known that their frequency is almost two times higher than in scientific speech, and three times higher than in official business speech. Here, for example, is a fragment of the text of Yu. Bondarev’s novel “The Game”: He cut down a Christmas tree in the forest, brought it along with the metal spirit of snow, completely covered in snow, and Olga began to decorate it with garlands cut from the remains of wallpaper, but he interfered with her, trampled behind her, joked, advised, saw her tilted, smoothly combed head, the tight knot of hair at the back of her head, and every now and then he took her by the shoulders and turned her towards him 4 .

The emotionality and expressiveness of the style of fiction is created using units at almost all levels of the language system. For example, at the syntactic level, the following two types of figurative syntax are widely used: 1) intonation-semantic highlighting and rhythmic and melodic organization of text sections (exclamations, exclamations, questions; segmentation; inversion; syntactic parallelisms; enumeration, repetitions, additions; break or break of syntactic movement ) and 2) means of syntactic characterology (reproduction of oral speech, stylization, parody) 5 .

The language of fiction also has a lot of “non-literary” uses, that is, in some cases, the language of fiction can go beyond the norms of a literary language. This is manifested primarily in the fact that within the framework of a work of art, the writer has the right to use forms that do not exist in the modern Russian literary language and have not existed in its history 6 . For example:

Come, I beg you, come!

Otherwise, come by plane,

So that it doesn't bother us

Some kind of ice.

(Lit. gas.)

Or: And you fill the silence of the fields with such sobbing trembling of unflying cranes (S. Yesenin). In L. Martynov we find the word moonnight, in A. Voznesensky - whistle, autumn, in A. Solzhenitsyn - dry, satisfied, suzlen, etc. Thus, the author of a work of art can also use the potential capabilities of language, creating neologisms (in a broad sense sense). Going beyond the literary language, artistic speech can include (within certain limits) dialectisms: From the village of Novoye Ramenye to the repair through the cattle it was considered fifteen kilometers; Among the moss hummocks, near the hollows overgrown with sedge, there are dug-in posts; On the very outskirts of Korshunov, not far from the highway, on a sandy hill stands a pine tree (And Tendryakov), jargon: You, Styopa, are a fraer of the purest water, like a tear; When such a haza is exposed, they lead to action...; Don't shake your nerves; And for Yakov Shurshikov, a person’s life is to spit and forget, to strike with a pen, amba and sha (N. Leonov), professionalism and other extra-literary elements.

The use of linguistic means in fiction is ultimately subordinated to the author's intention, the content of the work, the creation of an image and the impact through it on the addressee. Writers in their works proceed, first of all, from accurately conveying thoughts and feelings, truthfully revealing the spiritual world of the hero, and realistically recreating language and image. Not only the normative facts of language, but also deviations from general literary norms are subject to the author’s intention and the desire for artistic truth. “The language of fiction” with its characteristic “orientation to expression,” emphasized V.V. Vinogradov, “has the legal right to deformation, to violate general literary norms” 7 . However, any deviation from the norm must be justified by the author’s goal setting, the context of the work; the use of one or another linguistic device in fiction must be aesthetically motivated. If linguistic elements located outside the literary language perform a certain functional load, their use in the verbal fabric of a work of art can be justified.

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

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

Notes:

1. Bakhtin M. M. Aesthetics of verbal creativity. M., 1986; It's him. Literary critical articles. M., 1986.

2. The elements of the structure of a work of art and their stylistic design are discussed in detail in the book; Vasilyeva A. N. Practical stylistics of the Russian language for foreign senior philology students. M., 1981. S. 146-147; It's her. Artistic speech. M., 1983.

3. Kozhina M. N. Stylistics of the Russian language. P. 207.

4. For 54 word usages there are 11 verbs (20%), i.e. every fifth word is a verb.

5. Based on the literature of the 19th century. (works by I. S. Turgenev, F. M. Dostoevsky, L. N. Tolstoy. A. P. Chekhov) these techniques of figurative syntax are discussed in the article: Ivanchikova E. A. On the figurative possibilities of syntactic means in a literary text // Russian language: Problems of artistic speech. Lexicology and lexicography. M., 1981., pp. 92 -110.

6. In this regard, one cannot help but mention a certain convention of the terms “norm” and “deviation”, “deviation” from the norms of the CFL in relation to artistic speech, often used (including by the authors of this manual). What we call “deviations from the norm”, “violations of the literary norm”, “deviations from the norms of the KL” become in a work of art (in the language of fiction), in our opinion, nothing more than artistic means of depiction, if they are used with a special stylistic task and in accordance with the author’s specific target setting.

7. Vinogradov V.V. Literary language and the language of fiction // Issues. linguistics. 1955. No. 4. P. 4.

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

The language of fiction is a kind of mirror of literary language. Rich literature means rich literary language. And it is no coincidence that great poets and writers, for example Dante in Italy, Pushkin in Russia, become the creators of national literary languages. Great poets create new forms of literary language, which are then used by their followers and all those who speak and write in this language. Artistic speech appears as the pinnacle achievement of language. In it, the capabilities of the national language are presented in the most complete and pure development.

The artistic style differs from other functional styles of the Russian language by its special aesthetic function. If colloquial speech performs a communicative function - the function of direct communication, scientific and official business - the function of a message, then the artistic style performs an aesthetic function, the function of an emotional-figurative impact on the reader or listener.

This means that artistic speech should arouse in us a sense of beauty, beauty. Scientific prose affects the mind, artistic prose affects the feeling. A scientist thinks in concepts, an artist - in images. The first one argues, analyzes, proves, the second one draws, shows, depicts. This is the specificity of the language of fiction. The word performs an aesthetic function in it.

Of course, this function is characteristic to a certain extent of other styles. Each of them strives to be expressive in their own way. However, for an artistic style, the focus on expressiveness is the main, determining one.

The word in a work of art seems to be doubled: it has the same meaning as in the general literary language, as well as an additional, incremental one, associated with the artistic world, the content of this work. Therefore, in artistic speech, words acquire a special quality, a certain depth, and begin to mean more than what they mean in ordinary speech, while remaining outwardly the same words.

This is how ordinary language is transformed into artistic language; this, one might say, is the mechanism of action of the aesthetic function in a work of art.

The peculiarities of the language of fiction include an unusually rich, varied vocabulary. If the vocabulary of scientific, official business and colloquial speech is relatively limited thematically and stylistically, then the vocabulary of artistic style is fundamentally unlimited. The means of all other styles can be used here - terms, official expressions, colloquial words and expressions, and journalism. Of course, all these various means undergo aesthetic transformation, fulfill certain artistic tasks, and are used in unique combinations. However, there are no fundamental prohibitions or restrictions regarding vocabulary. Any word can be used if it is aesthetically motivated and justified.

Here, for example, is an excerpt from L. Leonov’s novel “Russian Forest,” in which special vocabulary is widely and uniquely used. Its use is motivated by the fact that it is a fragment of a lecture by the hero of the work, Professor Vikhrov.

This is how darkness and disorder sets in in nature. The springs are extinguished, the lakes become peaty, the creeks are filled with arrowleaf and kuga... Thus a monster enters our house, getting rid of which will require immeasurably more effort than we spent on expelling the forest. According to popular belief, the forest attracts water and then releases it in a cloud on its further journey. This means that he harnesses every drop of water into double and triple work. The larger the forests, the more often the constant two hundred millimeters of precipitation that we receive from the ocean per year on average will touch the ground with rain.

Colloquial speech is close to the language of fiction in its naturalness and simplicity of expression, democracy, and accessibility. It is widely used not only in dialogues, but also in the author’s speech.

Journalism is attracted to fiction by the possibility of an immediate, direct assessment of what is depicted. Artistic speech is an objectified picture of the world. When the writer has a need for evaluation, the need to speak on his own behalf, journalistic digressions appear in the work.

However, such diversity does not lead to chaos or lexical diversity, since each linguistic means in a work of art is motivated meaningfully and stylistically, and all together they are united by their inherent aesthetic function.

Such a wide range in the use of speech means is explained by the fact that, unlike other functional styles, each of which reflects one specific aspect of life, the artistic style, being a kind of mirror of reality, reproduces all spheres of human activity, all phenomena of social life. The language of fiction is fundamentally devoid of any stylistic closure; it is open to any styles, any lexical layers, any linguistic means. This openness determines the diversity of the language of fiction.

One of the features of fiction is artistic and figurative speech concretization.

An important feature of the artistic style is the individuality of the syllable. Every great writer develops his own style of writing, his own system of artistic techniques.

Masters of words create amazingly vivid visual and expressive means of language (tropes), constantly replenishing its treasury, from which any native speaker can take handfuls of countless treasures.

Epithet and comparison. How many of them have been invented! Many have become habitual and have lost their brightness.

The most amazing and widespread among visual and expressive means is metaphor, or hidden comparison.

Some writers use a very common trope in an original way - allegory, i.e. the embodiment of an abstract concept or idea in a specific artistic image.

Can be very expressive personification - transferring human properties to inanimate objects and abstract concepts.

Very expressive figure of speech gradation- an arrangement of words in which each subsequent one contains an increasing meaning, due to which the overall impression produced by the group of words increases. Gradation allows you to convey the deep experiences of a person in a moment of shock. Here, for example, is how Hamlet’s feelings are described in Shakespeare’s tragedy (translated by Mich. Lozinsky):

Thus, the essence of individuality is not in the absolute novelty of metaphors, images, combinations of words, but in the constant renewal of poetic formulas and their change.

However, clichés are completely unacceptable in the language of fiction - mechanically applied walking epithets, frequently used comparisons that are unable to evoke any emotions, and cliched expressions.

The language of fiction has a strong impact on the literary language and constitutes its main wealth.

Features of artistic speech.

1. Imagery. A word in artistic speech contains not only meaning, but in combination with other words it will create an image of an object or phenomenon. The generally accepted meaning of an object takes on a specific form, which makes the object visible, tangible and perceptible.

2. Emotionality. Literary speech is emotionally charged, so it affects the reader, causing appropriate emotions. This feature manifests itself in different ways.

3. Semantic capacity. Artistic speech is particularly brevity, accuracy and expressiveness.

Imagery, emotionality and semantic capacity are achieved through the entire structure of artistic speech by the selection of words, that is, vocabulary, a special combination of words, that is, syntax; phonetic features of the language are often used.

Artistic speech

Artistic speech

Expression of the figurative content of a work of art by means of language. Externally, artistic speech may be no different from ordinary colloquial speech, but it primarily performs an aesthetic function. Artistic speech, with every word used, construction, etc., realizes the author’s intention and reveals the content of the work. Language acts both as a means of depiction and as a subject of depiction, since the author, on the one hand, uses it to describe events, people and objects, and on the other hand, together with the readers, reflects on the linguistic features of the characters’ speech.
One of the striking features of artistic speech is the transmission, using linguistic means, of the characteristics of the characters in the work (the so-called speech characteristics). For example, in “Dead Souls” by N.V. Gogol A characteristic feature of the speech of the landowner Manilov is exaggerated politeness and the use of diminutive suffixes. Along with the description of the appearance, actions, and place where this hero lives, his characterization with the help of artistic speech helps the reader understand the image. Means of artistic speech can convey the characteristics and author’s assessment not only of characters, but also of any object and phenomenon depicted in the work.
Another important function of artistic speech, which also plays on the double use of linguistic means, is the separation of the author’s speech from the speech of the characters. The extreme expression of this is tale, where the author, remaining in the shadows, “passes” the word to some character. Usually, artistic speech in a tale has striking features (common, dialect words, etc.) and, as it were, unites the author and the reader, looking at the narrator from the outside. A striking example of a tale is the stories of M.M. Zoshchenko, where the main narrator is a poorly educated person, a worker or petty employee from the story “An Honest Citizen (Letter to the Police),” who expresses himself approximately like this: and she threw out my money, which fell by the stove; but their poodle has gotten into trouble and won’t let go. Literary speech can also reflect a switch in presentation - the transfer of words to one of the characters, his internal monologue; for example, in the works of F.M. Dostoevsky, where the so-called "polyphony" (M.M. Bakhtin) the voices of the characters and the author are created by means of artistic speech.
Words in artistic speech (regardless of whether they belong to the hero or the author) acquire a special meaning, an “increase in meaning” occurs (V.V. Vinogradov), i.e., in addition to the usual meaning, they receive additional semantic load in the text. This meaning is emphasized depending on various factors: the composition of the work, its figurative system. For example, in the story of A.P. Chekhov“Ionych” carries a special burden with the last phrases of each chapter (How much trouble, however! Oh, I shouldn’t gain weight! etc.), expressing in a condensed form the result of the events described in this chapter. Obeying the author's intention, various words can acquire symbolic meaning in the context of a given work; for example, in Chekhov’s story “Darling,” the word in the title not only conveys an affectionate address to a woman, but also means the essence of this woman, incapable of having her own opinion, adapting to the one with whom she communicates. In poetry, the words that form the rhyme. Often the author creates a system of keywords used in his works, which always carry some additional meaning; for example, “words-stars” by A.A. Blok: nightingale, rose, etc.
Artistic speech uses various artistic means: tropes, allegories, puns, inversions, allusions to other texts, etc. Moreover, each of these means receives full disclosure only against the background of the entire text. For example, when describing the anchar in the poem “Anchar” by A.S. Pushkin Various artistic media were used. The comparison “Anchar, like a formidable sentinel, / Stands alone in the whole universe” and the hyperbole “Not even a bird flies to him, / And the tiger does not come...” are revealed and receive new meaning in comparison with the second part of the poem, where it becomes clear that the slave by order of the prince he is forced to go to the anchar:

But man is man

Sent to the anchor with an imperious glance,

And he obediently set off on his way

And in the morning he returned with poison.

In various eras of the development of literature, artistic speech was either strictly regulated, or remained the area of ​​the author’s personal initiative. So, in the era classicism it was divided into three styles according to genres: high genres ( ode, tragedy) corresponded to high style, medium (e.g. stories) – medium, low ( comedy, satire) – low, and the words were also divided into these three categories. Limitations of artistic speech are determined not only by existing rules and canons, but also by censorship considerations. In the era symbolism On the contrary, each poet himself created his own system of artistic speech, based on the symbols that he considered important for his creativity. Modern artistic speech presupposes freedom of creativity.
Artistic speech exists against the background of the norm of literary language. On the one hand, it partly corresponds to this norm, since this is required by the very existence of a literary work: otherwise it will be incomprehensible to the reader; on the other hand, its peculiarities begin precisely outside the norm. To understand any work, it is necessary to know the norm of the language of the era when it was written in order to see deviations from the norm used by the author.

Literature and language. Modern illustrated encyclopedia. - M.: Rosman. Edited by prof. Gorkina A.P. 2006 .

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One of the specialized spheres of culture, functionally solving problems of intelligence. sensory reflection of existence in art. images, as well as various aspects of ensuring this activity. Studying H.K. traditionally engaged... ... Encyclopedia of Cultural Studies

- (hereinafter KKDV) This concept conventionally denotes the entire set of arts and artistic activity around and after the artistic activity of the 20th century. The specificity of the KhKDV, in contrast to the artistic culture of previous periods of history, lies in its... ... Encyclopedia of Cultural Studies

SPEECH, speeches, many. speeches, speeches, wives 1. units only The ability to use the language of words. Speech is one of the characteristics that distinguishes humans from animals. Speech development. Be able to speak (bookish). 2. only units. Sounding language, language at the moment of pronunciation... ... Ushakov's Explanatory Dictionary

Books

• Artistic speech as a tool of cognition, Olga Valerievna Evtushenko. The book describes the differences embodied in language between the three types of creative thinking - scientific, philosophical and artistic, as well as the specifics of artistic thinking in comparison with...

Complex goal

know

• fiction as a verbal form of creativity;
• organization and features of poetic language, poetic figures;
• poetic stylistics (hyperbole, grotesque, litotes, amplification);
• syntactic figures (inversion, signs);
• intonation and graphics (italics, ellipsis, pause, anaphora, simploca, epiphora, sylleps, oxymoron, anacoluth, antithesis, allegory, alogism);
• poetic phonetics (alliteration, assonance, onomatopoeia, anagram);
• tropes (metaphor, metonymy, comparison, epithet, personification, periphrase);
• reminiscences, literary parodies;

be able to

• distinguish between the function of language as a grammatical category and the function of speech as a category of artistic style of use;
• distinguish between the forms of poetic and prose language;

own

• terminology of linguistic culture;
• the corresponding conceptual apparatus of scientific literature;
• skills of speech analysis of artistic language.

Features of poetic language

The language of fiction, in other words, poetic language, is the form in which the art of words, verbal art, is materialized and objectified, in contrast to other types of art, such as music or painting, where the means of materialization are sound, paint, and color.

Each nation has its own language, which is the most important feature of the national specificity of the people. Having its own vocabulary and grammatical norms, the national language primarily performs a communicative function and serves as a means of communication. The Russian national language in its modern form largely completed its formation during the time of A.S. Pushkin and in his work. On the basis of the national language, a literary language is formed - the language of the educated part of the nation.

The language of fiction is a national language, processed by masters of artistic expression, subject to the same grammatical norms as the national language. The specificity of poetic language is only its function: it expresses the content of fiction, verbal art. Poetic language performs this special function at the level of living linguistic usage, at the level of speech, which in turn forms the artistic style.

Of course, the speech forms of the national language presuppose their own specifics: dialogical, monological, story-telling features of written and oral speech. However, in fiction these means should be considered in the general structure of the ideological, thematic, genre, compositional and linguistic originality of the work.

An important role in the implementation of these functions is played by figurative and expressive means of language. The role of these means is that they give speech a special flavor.

Flowers nod to me, bow your heads,

And the bush beckons with a fragrant branch;

Why are you the only one chasing me?

With your silk mesh?

In addition to the fact that this line is from the poem “A Moth for a Boy” with its own rhythm, its own size, rhyme pattern, and a certain syntactic organization, it contains a number of additional figurative and expressive means. Firstly, this is the speech of the moth addressed to the boy, a meek plea for the preservation of life. In addition to the image of a moth created by means of personification, flowers are personified here, which “nod” their heads to the moth, and a bush, which “beckons” with its branches. Here we will find the metonymically depicted image of a net ("silk net"), an epithet ("fragrant branch"), etc. In general, the stanza recreates the picture of nature, the images of a moth and a boy in certain respects.

By means of language, typification and individualization of characters’ characters, unique applications, and use of speech forms are carried out, which outside of this use may not be special means. Thus, the word “brother”, characteristic of Davydov (“Virgin Soil Upturned” by M. A. Sholokhov), includes him among the people who served in the navy. And the words “fact”, “actual” that he constantly uses distinguish him from everyone around him and are a means of individualization.

There are no areas in language where the possibility of an artist’s activity, the possibility of creating poetic visual and expressive means, would be excluded. In this sense, we can conditionally speak of “poetic syntax”, “poetic morphology”, “poetic phonetics”. We are talking here not about special laws of language, but, according to the correct remark of Professor G. O. Vinokur, about “a special tradition of language use.”

Thus, expressiveness itself, special figurative and expressive means are not a monopoly of the language of fiction and do not serve as the only formative material of a literary work. In the vast majority of cases, the words used in a work of art are taken from the general arsenal of the national language.

“He treated peasants and servants strictly and capriciously,” says A.S. Pushkin about Troekurov (“Dubrovsky”).

There is no expression or special means of expression here. And yet, this phrase is a phenomenon of art, since it serves as one of the means of depicting the character of the landowner Troekurov.

The ability to create an artistic image using language is based on the general laws inherent in language. The fact is that the word carries within itself not just elements of a sign, a symbol of a phenomenon, but is its image. When we say “table” or “house,” we imagine the phenomena denoted by these words. However, there are still no artistic elements in this image. We can talk about the artistic function of a word only when, in a system of other image techniques, it serves as a means of creating an artistic image. This, in fact, is the special function of poetic language and its sections: “poetic phonetics”, “poetic syntax”, etc. We are not talking about a language with special grammatical principles, but about a special function, a special use of forms of the national language. Even so-called word-images receive aesthetic meaning only in a certain structure. Thus, in the famous line from M. Gorky: “Over the gray plain of the sea, the wind gathers clouds” - the word “gray-haired” in itself does not have an aesthetic function. It acquires it only in combination with the words “plain of the sea.” “The gray plain of the sea” is a complex verbal image, in the system of which the word “gray-haired” begins to have the aesthetic function of a trope. But this trope itself becomes aesthetically significant in the overall structure of the work. So, the main thing that characterizes poetic language is not its saturation with special means, but its aesthetic function. Unlike any other use of them in a work of art, all linguistic means are, so to speak, aesthetically charged. “Any linguistic phenomenon under special functional and creative conditions can become poetic,” academician V. Vinogradov rightly asserts.

But the internal process of "poeticization" of language, however, is depicted by scientists in different ways.

Some scientists believe that the core of an image is a representation, a picture fixed in the forms of language; other researchers, developing the position about the linguistic core of an image, consider the process of “poeticization of speech as an act of accretion” to a word of additional quality or meaning. In accordance with this point of view, a word becomes a phenomenon of art (figurative) not because it expresses an image, but because, due to its inherent immanent properties, it changes quality.

In one case, the primacy of the image is affirmed, in the other - the primacy and primacy of the word.

There is no doubt, however, that the artistic image in its verbal expression represents an integral unity.

And if there is no doubt that the language of a work of art should be studied, like any phenomenon, on the basis of mastering the general laws of language development, that without special linguistic knowledge one cannot deal with the problems of poetic language, then at the same time it is quite obvious that, as a phenomenon of verbal art, language cannot be removed from the sphere of literary sciences that study verbal art at the figurative-psychological, social and other levels.

Poetic language is studied in connection with the ideological, thematic and genre-compositional specifics of a work of art.

Language is organized in accordance with certain tasks that a person sets for himself in the process of his activities. Thus, the organization of language in a scientific treatise and in a lyric poem are different, although in both cases forms of literary language are used.

The language of a work of art has two main types of organization - poetic And prosaic(the language of drama is close in its organization to the language of prose). Forms and means of organizing types of speech are at the same time speech means (rhythm, size, methods of personification, etc.).

The source for poetic language is the national language. However, the norms and level of development of language at a particular historical stage do not in themselves determine the quality of verbal art, the quality of the image, just as they do not determine the specifics of the artistic method. During the same periods of history, works were created that differed in artistic method and in their poetic significance. The process of selecting linguistic means is subordinated to the artistic concept of a work or image. Only in the hands of an artist does language acquire high aesthetic qualities.

Poetic language will recreate life in its movement and in its possibilities with great completeness. With the help of a verbal image, you can “draw” a picture of nature, show the history of the formation of human character, and depict the movement of masses. Finally, a verbal image can be close to a musical one, as is observed in poetry. The word is firmly connected with thought, with the concept, and therefore, compared to other means of creating an image, it is more capacious and more active. A verbal image, which has a number of advantages, can be characterized as a “synthetic” artistic image. But all these qualities of a verbal image can only be identified and realized by an artist.

The process of artistic creativity or the process of poetic processing of speech is deeply individual. If in everyday communication one can distinguish a person by the manner of his speech, then in artistic creativity one can identify the author by his unique method of artistic processing of language. In other words, the writer’s artistic style is refracted in the speech forms of his works, etc. The entire infinite variety of forms of verbal art is based on this feature of poetic language. In the process of creativity, the artist does not passively apply the treasures of the language already obtained by the people - a great master with his creativity influences the development of the national language, improving its forms. At the same time, it relies on the general patterns of language development and its folk basis.

Journalism(from lat. publicus- public) - a type of literature whose content is mainly modern issues of interest to the general reader: politics, philosophy, economics, morality, law, etc. The closest to journalism in terms of the specifics of creativity are journalism and criticism.

The genres of journalism, journalism, and criticism are often identical. This is an article, a series of articles, a note, an essay.

A journalist, a critic, and a publicist often act as one person, and the boundaries between these types of literature are quite fluid: for example, a magazine article can be critical and journalistic. It is quite common for writers to act as publicists, although often a journalistic work is not artistic: it is based on real facts of reality. The goals of a writer and a publicist are often close (both can contribute to the solution of similar political and moral problems), but the means are different.

The figurative expression of content in a work of art corresponds to the direct, conceptual expression of problems in journalistic work, which in this respect is closer in form to scientific knowledge.

Artistic and journalistic literature includes works in which specific life facts are expressed in figurative form. In this case, elements of creative imagination are used. The most common genre is the artistic essay.

• Vinokur G. O. Selected works on the Russian language. M., 1959. P. 388.
• Vinogradov V.V. Stylistics. Theory of poetic speech. Poetics. M., 1963. P. 139.