INTRODUCTION

The study of the stylistic stratification of the Russian language is engaged in a special science - stylistics, which studies various issues related to the rules and features of the purposeful use of various words and forms of the common language in various kinds of utterances, in speech. Its appearance is quite natural, since the definition of the boundaries of a particular functional style, its features has always been very important for linguistic science, since the definition of the rules and laws of the language has always gone along with the definition of the norms for the use of certain elements of the language in specific speech contexts. According to linguistic scholars, normative grammar and stylistics, lexicology, lexicography and stylistics are linked for a long time and firmly.

Among the works of Russian linguists, studies and articles on Russian stylistics occupy a prominent place. Here one can single out such important works as the articles of Academician L.V. Shcherba (especially "Modern Russian literary language"), and numerous large and small studies, monographs and articles by Academician V.V. Vinogradov. Various studies and articles by A.M. Peshkovsky, G.O. Vinokura, L.A. Bulakhovsky, B.V. Tomashevsky, V.A. Hoffman, B.A. Larina and others. In these studies, for the first time, on a theoretical basis, questions were raised about the separation of an artistic style into a separate category, about its specifics and features of being.



However, linguists have not yet found agreement and unity in understanding the essence of the "language" of fiction and its place in the system of styles of literary speech. Some put the "style of fiction" in parallel with other stylistic varieties of literary speech (with the style of scientific, journalistic, official business, etc.), on a par with them (A.N. Gvozdev, R.A. Budagov, A.I. Efimov, E. Rizel and others), others consider it to be a phenomenon of a different, more complex order (I.R.Galperin, G.V. Stepanov, V.D. Levin).

But all scientists recognize the fact that, in essence, the "language" of fiction, developing in the historical "context" of the literary language of the people and in close connection with it, is at the same time, as it were, its concentrated expression. Therefore, the concept of "style" as applied to the language of fiction is filled with a different content than in relation to other functional styles of the Russian language.

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

The functional style is a historically developed and socially conscious type of literary language (its subsystem), functioning in a certain area of ​​human activity and communication, created by the peculiarities of the use of linguistic means in this area and their specific organization.

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

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

Thus, in linguistics, the specificity of the artistic style is noted, which determines the relevance of our work.

The purpose of our research is to determine the features of the artistic style of speech.

The object of the research is the process of functioning of this style in the Russian literary language.

Subject - specific linguistic means of an artistic style.

Consider the general concept of "style of speech";

Reveal the distinctive features of the artistic style of speech;

Analyze the features of the selection and use of various linguistic means in a given style.

The practical significance of our work lies in the fact that the material presented in it can be used both in the study of the general course of the stylistics of the Russian language, and in the study of a separate topic "Artistic style of speech".

CHAPTER… General concept of speech styles

Functional style is a type of literary language that performs a specific function in communication. Therefore, styles are called functional. If we assume that the style is characterized by five functions (among scientists there is no unanimity about the number of functions inherent in the language), then five functional styles are distinguished: colloquial everyday, scientific, official business, newspaper journalistic, and artistic.

Functional styles determine the stylistic flexibility of the language, diverse possibilities of expression, variation of thought. Thanks to them, the language turns out to be able to express complex scientific thought, philosophical wisdom, to outline laws, to reflect the multifaceted life of the people in the epic.

The performance of a particular function by a style - aesthetic, scientific, business, etc. - imposes a deep originality on the entire style. Each function is a specific setting for a particular manner of presentation - accurate, objective, concrete-graphic, informative-business, etc. And, accordingly, with this setting, each functional style selects from the literary language those words and expressions, those forms and constructions which can best fulfill the internal task of a given style. So, scientific speech needs precise and strict concepts, business speech tends to generalized names, artistic prefers concreteness, depiction.

However, style is not only a way, a manner of presentation. Each style has its own range of topics, its own content. The conversational style is limited, as a rule, to everyday, everyday subjects. Official business speech serves the court, law, diplomacy, relations between enterprises, etc. Newspaper publicistic speech is closely related to politics, propaganda, public opinion. So, there are three features of the functional style:

1) each functional style reflects a certain side of social life, has a special scope, its own range of topics;

2) each functional style is characterized by certain conditions of communication - formal, informal, casual, etc .;

3) each functional style has a common setting, the main task of speech.

These external (extralinguistic) features determine the linguistic appearance of functional styles.

The first feature is that each of them has a set of characteristic words and expressions. So, the abundance of terms, special vocabulary to the greatest extent characterizes the scientific style. Colloquial words and expressions indicate that we have colloquial speech, colloquial and everyday style. Fiction speech abounds in figurative, emotional words, newspaper-journalistic - in socio-political terms. This does not mean, of course, that the functional style consists entirely of words that are characteristic of it. On the contrary, in quantitative terms, their share is insignificant, but they constitute the most significant part of it.

The bulk of words in each style are neutral, interstyle words, against which the characteristic vocabulary and phraseology stands out. Interstyle vocabulary is the guardian of the unity of the literary language. Being a general literary, it unites functional styles, preventing them from turning into special, difficult to understand languages. The characteristic words constitute the linguistic specifics of the style. It is they who determine its linguistic appearance.

Common to all functional styles are grammatical means. The grammar of the language is one. However, in accordance with its setting, each functional style uses grammatical forms and constructions in its own way, giving preference to one or another of them. So, for the official business style, which is based on everything personal, vaguely personal, reflexive constructions, passive turns are very characteristic (reception is made, certificates are issued, money is exchanged). Scientific style prefers direct word order in sentences. The journalistic style is characterized by rhetorical figures: anaphoras, epiphores, parallelisms. However, in relation to vocabulary, and especially in relation to grammar, we are not talking about the absolute, but about the relative fixation of this or that style. Words and grammatical constructions characteristic of any functional style can be used in another style.

Linguistically, functional styles differ in terms of imagery and emotionality. The possibilities and degree of imagery and emotionality in different styles are not the same. These qualities are not characteristic, in principle, for the scientific and official-business styles. However, elements of imagery and emotionality are possible in some genres of diplomacy, in polemical scientific works. Even some terms are figurative. For example, a strange particle in physics is called so because it really behaves unusual, strange.

Other functional styles tend to favor emotionality and imagery. For artistic speech, this is one of the main language features. Artistic speech is figurative by its nature, essence. The imagery in journalism has a different character. However, here, too, this is one of the important components of the style. It is quite predisposed to imagery and especially to emotionality and colloquial speech.

Thus, each functional style is a special influential sphere of the literary language, characterized by its own range of topics, its own set of speech genres, specific vocabulary and phraseology. Each functional style is a kind of miniature language: the language of science, the language of art, the language of laws, diplomacy. And all together they make up what we call the Russian literary language. And it is the functional styles that determine the richness and flexibility of the Russian language. Colloquial speech brings liveliness, naturalness, ease, ease into the literary language. Scientific speech enriches the language with precision and severity of expression, journalism - emotionality, aphorism, artistic speech - imagery.

Characteristic of the art style

artistic speech stylistics Russian

The specificity of the artistic style of speech, as a functional one, lies in the fact that it finds application in fiction, which performs a figurative-cognitive and ideological-aesthetic function. Unlike, for example, an abstracted, objective, logical-conceptual reflection of reality in scientific speech, fiction is inherent in a concrete-figurative representation of life. A work of art is characterized by perception through feelings and the re-creation of reality, the author seeks to convey, first of all, his personal experience, his understanding or comprehension of this or that phenomenon. But in a literary text we see not only the world of the writer, but also the writer in this world: his preferences, condemnations, admiration, rejection, and the like. Associated with this is the emotionality and expressiveness, metaphor, content-rich diversity of the artistic style of speech.

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

The basis of the artistic style of speech is the literary Russian language. The word in this functional style performs a nominative-pictorial function. Among the words that make up the basis of this style, first of all, there are figurative means of the Russian literary language, as well as words that realize their meaning in the context. These are words of a wide range of use. Highly specialized words are used to an insignificant extent, only to create artistic credibility when describing certain aspects of life.

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

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

This is how an ordinary language turns into an artistic one, such is, one might say, the mechanism of action of the aesthetic function in a work of art.

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

We can say that in the artistic style all linguistic means, including neutral ones, are used to express the author's poetic thought, to create a system of images of a work of art.

The 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 isolation, it is open to any style, any lexical layer, any language means. This openness determines the diversity of the language of fiction.

In general, the artistic style is usually characterized by imagery, expressiveness, emotionality, the author's individuality, the concreteness of presentation, the specificity of the use of all linguistic means.

It affects the imagination and feelings of the reader, conveys the thoughts and feelings of the author, uses all the richness of vocabulary, the possibilities of different styles, is characterized by imagery, emotionality, concreteness of speech. The emotionality of the artistic style differs significantly from the emotionality of the conversational and everyday style, since the emotionality of artistic speech performs an aesthetic function.

A broader concept is the language of fiction: the artistic style is usually used in the author's speech, and other styles, for example, colloquial, may be present in the speech of characters.

The language of fiction is a kind of mirror of the literary language. If literature is rich, then the literary language is also rich. Great poets and writers 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 highest achievement of the language. In it, the possibilities of the national language are presented in the most complete and purest development.

CHAPTER ... TO THE QUESTION OF DETERMINING THE ARTISTIC STYLE

All researchers talk about the special position of the style of fiction in the style system. The selection of this style in the general system is possible, since the style of fiction arises on the same basis as other styles.

The sphere of activity of the style of fiction is art.

The "material" of fiction is the common language.

He depicts in words thoughts, feelings, concepts, nature, people, their communication. Each word in a literary text is subject not only to the rules of linguistics, it lives according to the laws of verbal art, in the system of rules and techniques for creating artistic images.

The concept of "language of a work of art" includes the entire set of means that the author uses to reproduce life phenomena in order to express his thoughts and views, convince the reader and evoke responsive feelings in him.

The addressee of fiction is the reader.

The goal setting of style is the artist's self-expression, artistic comprehension of the world by means of art.

Fiction equally uses all functional and semantic types of speech - description, narration, reasoning.

The form of speech is predominantly written, for texts intended to be read aloud, a preliminary record is required.

Fiction also uses all types of speech: monologue, dialogue, polylogue. The type of communication is public.

The genres of fiction are well-known - these are novel, story, sonnet, story, fable, poem, comedy, tragedy, drama, etc.

Features of thin art

One of the features of the style of fiction is that all elements of the artistic system of a work are subordinated to the solution of aesthetic problems, the word in a fiction text is a means of creating an image, conveying the artistic meaning of a work.

In literary texts, all the variety of linguistic means existing in the language is used (we have already spoken about them): means of artistic expression, stylistic or rhetorical figures, and they can be used as means of the literary language, as well as phenomena that stand outside the literary language -

dialects, definition

jargon, definition

abusive vocabulary,

means of other styles, etc.

At the same time, the selection of linguistic units is subordinate to the artistic intention of the author.

For example, a character's surname can be used as a means of creating an image. This technique was widely used by writers of the 18th century, introducing "speaking surnames" into the text. To create an image, the author can, within the same text, use the possibilities of polysemy of a word, homonyms, definition

Definition of synonyms for other linguistic phenomena.

The repetition of a word, which in scientific and official-business styles emphasizes the accuracy of the text, in journalism serves as a means of enhancing the impact, in artistic speech it can underlie the composition of the text, create the artistic world of the author.

The artistic means of literature are characterized by the ability to “augment meaning”, which makes it possible to interpret literary texts in different ways, and to evaluate them differently. So, for example, critics and readers assessed many works of art in different ways:

The drama of A.N. N. Dobrolyubov called Ostrovsky's "Thunderstorm" "A ray of light in the dark kingdom", seeing in its main character - a symbol of the rebirth of Russian life. His contemporary D. Pisarev saw in "The Thunderstorm" only the drama in the family chicken coop, modern researchers A. Genis and P. Weil, comparing the image of Catherine with the image of Emma Bovary Flaubert, saw a lot in common and called "The Thunderstorm" "the tragedy of bourgeois life." There are many such examples: the interpretation of the image of Hamlet Shakespeare, Turgenev's Bazarov, the heroes of Dostoevsky. An example of the same from Shakespeare is obligatory

A literary text has an author's identity - the author's style. The style of the author is the characteristic features of the language of the works of one author, consisting in the choice of heroes, compositional features of the text, the language of the characters, speech features of the author's text itself. So, for example, the style of L. N. Tolstoy is characterized by a technique that the well-known literary critic V. Shklovsky called "detachment." The purpose of this technique is to return the reader to a vivid perception of reality and to expose the evil. For example, the writer uses this technique in the scene of Natasha's visit to the Rostov Theater (“War and Peace”): at first Natasha, exhausted by separation from Andrei Bolkonsky, perceives the theater as an artificial life, opposed to her, Natasha, feelings, then, after meeting with Helen Natasha looks at the stage through her eyes. Another feature of Tolstoy's style is the constant dismemberment of the depicted object into simple constituent elements, which can manifest itself in the rows of homogeneous members of the sentence. At the same time, such dismemberment is subordinated to a single idea. Tolstoy, struggling with romantics, develops his own style, practically refuses to use the actual figurative means of language.

In a literary text, we also meet with the image of the author, who can be presented as the image of the narrator or the image of the hero, the narrator.

The author's image is a conventional image. The author ascribes to him, so to speak, “transfers” the authorship of his work, which may contain information about the author's personality, facts of his life that do not correspond to the actual facts of the writer's biography. By this, the writer emphasizes the non-identity of the author of the work and his image in the work. The image of the author actively participates in the life of the heroes, enters the plot of the work, expresses his attitude to what is happening, the heroes, comments on the action, enters into a dialogue with the reader. An author's or lyrical digression is a reflection of the author (lyric hero, narrator), not related to the main narrative. You are well acquainted with the novel by M.Yu. Lermontov's "A Hero of Our Time", a novel in verse by A.S. Pushkin "Eugene Onegin", where the image of the author is a vivid example of the expression of a conventional image in the creation of a literary text.

The perception of a literary text is a complex process.

The initial stage of this process is the naive realism of the reader (the reader believes that the author directly depicts life as it really is), the final stage is the dialogue between the reader and the writer (in this case, “the reader is congenial to the author,” as the remarkable philologist of the 20th century said Yu.M. Lotman).

The concept of "language of a work of art" includes the entire set of artistic means that the author uses: word ambiguity, homonyms, synonyms, antonyms, archaisms, historicisms, neologisms, foreign vocabulary, idioms, winged words.

OUTPUT

As we noted above, the question of the language of fiction and its place in the system of functional styles is resolved ambiguously: some researchers (V.V. Vinogradov, R.A. Budagov, A.I. Efimov, M.N. Kozhina, A. N. Vasilyeva, B.N. Golovin) include a special artistic style in the system of functional styles, others (L.Yu. Maksimov, K.A. Panfilov, M.M. Shansky, D.N.Shmelev, V.D.Bondaletov) consider that there is no reason for this. The following are cited as arguments against highlighting the style of fiction:

1) the language of fiction is not included in the concept of a literary language;

2) it is multi-style, open-ended, does not have specific signs that would be inherent in the language of fiction as a whole;

3) the language of fiction has a special, aesthetic function, which is expressed in a very specific use of linguistic means.

It seems to us that the opinion of M.N. Kozhina that “taking artistic speech outside of functional styles impoverishes our understanding of the functions of language. If we deduce artistic speech from the number of functional styles, but assume that literary language exists in a variety of functions, and this cannot be denied, then it turns out that the aesthetic function is not one of the functions of language. The use of language in the aesthetic sphere is one of the highest achievements of the literary language, and from this neither the literary language ceases to be such, getting into a work of fiction, nor the language of fiction ceases to be a manifestation of the literary language. " 1

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

It is used in literary works of different kinds and genres: stories, novellas, novels, poems, poems, tragedies, comedies, etc.

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

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

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

The breadth of artistic speech coverage of the means of the national language is so great that it allows us to assert the idea of ​​the fundamental potential of including in the style of fiction all existing linguistic means (albeit connected in a certain way).

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.

1 Kozhina M.N. The stylistics of the Russian language. M., 1983.S. 49.

Instructions

This style can otherwise be called the style of fiction. It is used in verbal and artistic creativity. Its main goal is to influence the feelings and thoughts of readers and listeners with the help of images created by the author.

An artistic style (like any other) involves the selection of linguistic means. But in it, in contrast to the official business and scientific styles, all the richness of vocabulary, special imagery and emotionality of speech are widely used. In addition, he uses the possibilities of different styles: colloquial, journalistic, scientific and formal business.

The artistic style is distinguished by a special attention to the casual and the private, behind which the typical features and images of the time are visible. As an example, we can recall "Dead Souls", where N.V. Gogol portrayed landowners, each of whom is the personification of certain human qualities, but all of them together are the "face" of Russia in the 19th century.

Another distinctive feature of the artistic style is the subjective moment, the presence of the author's fiction or the "re-creation" of reality. The world of a literary work is the world of the writer, where reality is presented through his vision. In a literary text, the author expresses his preferences, rejection, condemnation and admiration. Therefore, the artistic style is characterized by expressiveness, emotionality, metaphor and diversity.

To prove the artistic style, read the text and analyze the language used in it. Pay attention to their variety. In literary works, a large number of tropes are used (epithets, metaphors, comparisons, hyperboles, personifications, paraphrases and allegories) and stylistic figures (anaphores, antitheses, oxymorons, rhetorical questions and appeals, etc.). For example: "a little man with a fingernail" (litota), "a horse runs - the earth trembles" (allegory), "streams ran from the mountains" (personification).

In the artistic style, the ambiguity of words is clearly manifested. Writers often discover additional meanings and meanings in them. For example, the adjective "lead" in the scientific or journalistic style will be used in its direct meaning "lead bullet" and "lead ore", in the artistic, most likely, it will act as a metaphor for "leaden twilight" or "leaden clouds".

When parsing the text, be sure to pay attention to its function. If the conversational style serves for communication or communication, the formal business and scientific are informative, and the artistic style is intended for emotional impact. Its main function is aesthetic, which obeys all linguistic means used in a literary work.

Determine in what form the text is implemented. The artistic style is used in drama, prose, and poetry. They are accordingly divided into genres (tragedy, comedy, drama; novel, story, short story, miniature; poem, fable, poem, etc.).

Artistic style - concept, types of speech, genres

All researchers speak about the special position of the style of fiction in the system of styles of the Russian language. But its separation in this general system is possible, since it arises on the same basis as other styles.

The sphere of activity of the style of fiction is art.

The "material" of fiction is the common language.

He depicts in words thoughts, feelings, concepts, nature, people, their communication. Each word in a literary text is subject not only to the rules of linguistics, it lives according to the laws of verbal art, in the system of rules and techniques for creating artistic images.

Form of speech - predominantly written; for texts intended to be read aloud, preliminary recording is required.

Fiction equally uses all types of speech: monologue, dialogue, polylogue.

Communication type - public.

Fiction genres known isnovel, story, sonnet, story, fable, poem, comedy, tragedy, drama, etc.

all elements of the artistic system of a work are subordinated to the solution of aesthetic problems. The word in a literary text is a means of creating an image, conveying the artistic meaning of a work.

These texts use all the variety of linguistic means that exist in the language (we have already spoken about them): means of artistic expression, and both the means of the literary language and phenomena that stand outside the literary language - dialects, jargon, means of other styles, etc. etc. At the same time, the selection of linguistic means is subordinated to the artistic intention of the author.

For example, a character's surname can be used as a means of creating an image. This technique was widely used by writers of the 18th century, introducing “speaking surnames” into the text (Skotinins, Prostakova, Milon, etc.). To create an image, the author can, within the same text, use the possibilities of the polysemy of a word, homonyms, synonyms and other linguistic phenomena.

(The one that, having sipped passions, only sipped on silt - M. Tsvetaeva).

The repetition of a word, which in scientific and official - business styles emphasizes the accuracy of the text, in journalism serves as a means of amplifying the impact, in artistic speech it can underlie the text, create the artistic world of the author

(cf .: S. Yesenin's poem "You are my Shagane, Shagane").

The artistic means of literature are characterized by the ability to "augment meaning" (for example, with information), which makes it possible to interpret literary texts in different ways, to evaluate them differently.

So, for example, critics and readers assessed many works of art in different ways:

  • drama A.N. Ostrovsky "Thunderstorm" called "a ray of light in the dark kingdom", seeing in its main character - a symbol of the rebirth of Russian life;
  • his contemporary saw in "The Thunderstorm" only "the drama in the family chicken coop",
  • modern researchers A. Genis and P. Weil, comparing the image of Catherine with the image of Emma Bovary Flaubert, saw much in common and called the "Thunderstorm" "the tragedy of bourgeois life."

There are many such examples: the interpretation of the image of Hamlet Shakespeare, Turgenev's, the heroes of Dostoevsky.

Fictional text has by the author's originality - by the author's style... These are the characteristic features of the language of the works of one author, consisting in the choice of characters, compositional features of the text, the language of the characters, speech features of the author's text itself.

So, for example, for the style of L.N. Tolstoy is characterized by a technique that the famous literary critic V. Shklovsky called "dismissal." The purpose of this technique is to return the reader to a vivid perception of reality and to expose the evil. For example, the writer uses this technique in the scene of Natasha's visit to the Rostov Theater ("War and Peace"): at first Natasha, exhausted by separation from Andrei Bolkonsky, perceives the theater as an artificial life, opposed to her, Natasha, feelings (cardboard sets, aging actors), then, after meeting with Helen, Natasha looks at the stage through her eyes.

Another feature of Tolstoy's style is the constant dismemberment of the depicted object into simple constituent elements, which can manifest itself in the rows of homogeneous members of the sentence; at the same time, such dismemberment is subordinated to a single idea. Tolstoy, struggling with romantics, develops his own style, practically refuses to use the actual figurative means of language.

In a literary text, we also encounter the image of the author, who can be presented as an image - a narrator or an image-hero, a narrator.

This is a conditional image . The author ascribes to him, "transfers" the authorship of his work, which may contain information about the personality of the writer, facts of his life that do not correspond to the actual facts of the biography of the writer. By this, he emphasizes the non-identity of the author of the work and his image in the work.

  • actively participates in the lives of heroes,
  • is included in the plot of the work,
  • expresses his attitude to what is happening and characters

As a means of communication, artistic speech has its own language - a system of figurative forms, expressed by linguistic and extralinguistic means. Artistic speech, along with non-fiction, make up two levels of the national language. The basis of the artistic style of speech is the literary Russian language. The word in this functional style performs a nominative-pictorial function. Let's cite the beginning of V. Larin's novel "Neural Shock":

“Marat's father Stepan Porfirevich Fateev, an orphan from his infancy, was from the clan of Astrakhan bindyuzhniks. The revolutionary whirlwind blew him out of the locomotive vestibule, wires through the Michelson plant in Moscow, machine-gun courses in Petrograd and threw him into Novgorod-Seversky, a town of deceptive silence and bliss. "(Star. 1998. No. 1).

In these two sentences, the author showed not only a segment of individual human life, but also the atmosphere of the era of huge changes associated with the revolution of 1917. The first sentence gives knowledge of the social environment, material conditions, human relations in the childhood of the father of the hero of the novel and his own roots. Simple, rude people who surrounded the boy (binder - the colloquial name of a port loader), the hard work that he saw from childhood, the restlessness of orphanhood - that is what stands behind this proposal. And the next sentence puts privacy in the loop of history. Metaphorical phrases The revolutionary whirlwind blew out ..., dragged ..., threw ... human life is likened to a grain of sand that cannot withstand historical cataclysms, and at the same time convey the element of the general movement of those "who were nobody." In a scientific or official business text, such imagery, such a layer of deep information is impossible.

The lexical composition and functioning of words in the artistic style of speech have their own characteristics. Among the words that form the basis and create the imagery of this style, first of all, there are figurative means of the Russian literary language, as well as words that realize their meaning in the context. These are words of a wide range of use. Highly specialized words are used to a small extent, only to create artistic credibility when describing certain aspects of life. For example, LN Tolstoy used a special military vocabulary in his "War and Peace" to describe battle scenes; We will find a significant number of words from the hunting vocabulary in the "Notes of a Hunter" by I. S. Turgenev, in the stories of M. M. Prishvin, V. A. Astafiev, and in A. S. Pushkin's "The Queen of Spades" there are many words from the lexicon of the card game etc.

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



"In the tavern Evdokimov alreadywere gathered extinguish the lamps when the scandal began. The scandal started like this.First everything looked fine in the hall, and even the tavern-pubic Potap told the owner that,they say, today God has mercy - not a single broken bottle, when suddenly in the depths, in the semi-darkness, in the very core, it buzzed like a swarm of bees.

- Father's lights, - the owner was lazy amazed, - here,Potapka, your evil eye, devil! Well, you should have croaked, damn it! " (Okudzhava B. Shilov's Adventures).

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

For artistic speech, especially poetic, inversion is characteristic, that is, a change in the usual order of words in a sentence in order to enhance the semantic significance of a word or to give the entire phrase a special stylistic coloring. An example of inversion is the well-known line from the poem by A. Akhmatova "I see everything Pavlovsk hilly ..."

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

“In Mila’s story, everything continued on an increasing scale, Mila’s husband in a new two-room apartment no longer protected Mila from her mother, her mother lived separately, and there was no telephone either here or there. - Mila's husband became himself and Iago and Othello, and with a sneer from around the corner watched how peasants of his type, builders, prospectors, poets, who did not know how heavy this burden was, how unbearable life was if fighting alone, on the street , since beauty in life is not an assistant, so roughly it would be possible to translate those abusive, desperate monologues that the former agronomist, and now a research assistant, Mila's husband, shouted both on the night streets and in her apartment, and getting drunk, so Mila she hid with her young daughter somewhere, found shelter for herself, and the unfortunate husband beat furniture and threw iron pans ”,

This proposal is perceived as an endless complaint from an uncountable number of unhappy women, as a continuation of the theme of a sad woman's lot.

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

"Ay, cute, - Shipov shook his head - why is that so? Do not. I can see right through you, mon cher… Hey Potapka, why have you forgotten the man on the street?? Lead him here, waking him up. And what, mister student, how does this inn lease to you? It's filthy, and you think he's okay with me?... I've been to real restaurants, sir, I know ... Pure Empire style ... But you can't talk to people there, but here I can learn something "(Okudzhava B. Shilov's Adventures).

The protagonist's speech characterizes him very vividly: not too educated, but ambitious, who wants to give the impression of a master, a master. Shipov uses elementary French words (my cher) along with vernacular waking up, ndrav, here, which do not correspond not only to the literary, but also to the colloquial norm. But all these deviations in the text serve the law of artistic necessity.

Bibliography:

1. Azarova, E.V. Russian language: Textbook. allowance / E.V. Azarova, M.N. Nikonov. - Omsk: Publishing house of OmSTU, 2005 .-- 80 p.

2. Golub, I.B. Russian language and culture of speech: Textbook. manual / I.B. Golub. - M.: Logos, 2002 .-- 432 p.

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

4. Nikonova, M.N. Russian language and culture of speech: Textbook for non-philological students / M.N. Nikonov. - Omsk: Publishing house of OmSTU, 2003 .-- 80 p.

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

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

The artistic style of speech, as the name implies, is characteristic of the language of fiction.

Literary critics and linguists call it one of the most important means of artistic communication. We can say that it is a linguistic form of expressing figurative content. Do not forget that when we consider the artistic style of speech, we reason at the intersection of literary criticism and linguistics. It should be noted that the norms of the literary language are just a kind of starting point for qualitatively different linguistic norms.

Features of the artistic style of speech

This style of speech can include colloquial, colloquial, stationery, and many other styles. For every writer, the language obeys only those laws that are created by the author himself. Many linguists note that in recent decades, the literary language is gradually removing restrictions - it becomes open to dialects, jargon, colloquial vocabulary. The artistic style of speech presupposes, first of all, freedom in the choice of words, which, however, must be associated with the greatest responsibility, expressed in a sense of proportionality and conformity.

Artistic style of speech: the main features

The first sign of the described style is the original presentation of the word: it seems to be torn out of schematic connections and placed in “unusual circumstances”. Thus, such a presentation of the word arises, in which it becomes interesting in itself, and not in context. Secondly, it is characterized by a high level of linguistic organization, that is, additional ordering. The degree of organization of speech in prose is the division of the text into chapters and parts; in a dramatic work - on acts, scenes, phenomena. The most difficult is the level of linguistic organization in poetic speech - it is metrics, and stanza, and the use of rhymes. By the way, one of the most striking properties of artistic speech in a poetic work is a high degree of polysemy.

In fictional prose, as a rule, ordinary human speech is highlighted, which is one of the means of characterizing the characters (the so-called speech portrait of the hero).

Comparison

Comparison is of great importance in the language of almost any work. This term can be defined as follows: "Comparison is the main way of forming new ideas." It serves mainly to indirectly characterize the phenomenon, and contributes to the creation of completely new images.

The language of a work of art

Summing up all of the above, we can conclude that imagery is characteristic of the artistic style of speech. Each of its elements is aesthetically significant: not only words are important, but also sounds, rhythm, and melodic language. You can find examples of the artistic style of speech by opening any literary work. Every writer strives first of all for freshness, unbeatable image - this explains the widespread use of special means of expression.