Stylistic coloring of words.

Gastritis exists

in terms of functional style The stylistic coloring of a word is usually called connotative meaning or connotation (with; sign).

. Different types of styles. The colors of words are marked in dictionaries with special marks (bookish, high, folk-poetic). There are two differences kind stylistic coloring: (1) emotionally expressive

, conveys feelings through the interaction of semantics and evaluativeness:

Rational assessment (bad, uninteresting, useless)

Emotive assessment, often figurative (boob, blockhead, whip - colloquial; critic, muslin young lady - bookish.)

Expression is expressed by increased emotivity and rationality

Lexical and graphic notes in dictionaries. They can receive emotional express in the text. coloring and neutral words (water near Mayak). Words in the title often acquire additional semantic meanings.

(2) Figurative rethinking of a word that has passed from one style to another functional-stylistic

- , associated with varieties of language use in different spheres of communication (opposition, reform, faction; the above-mentioned and the undersigned). Stylistic coloring is most clearly and diversely manifested in vocabulary and phraseology; the ratio of high and neutral (expel-expel), in pronunciation the ratio of bookish and colloquial (bakery-buloshnaya). Functional-stylistic coloring is little noticeable when it appears in its own style, because it is natural. But when it is outside its sphere, it immediately becomes a noticeable means of expression.

inter-style/neutral used in all styles

Stylistically colored/labeled (purely bookish terminology)

journalistic style: high, solemn, civil vocabulary

official business: persistent cliches, official business vocabulary

colloquial speech: words of informal communication, colloquial words, everyday vocabulary

The aesthetic function of language and the language of fiction (“artistic style”). The question of “poetic language” To begin with, what is an artist? literature, and how is it different from non-art. liters. Artist literature (literature) – the action is displayed and depicted in figurative form . non-artist,, in terms of concepts. Predominance in thin. texts with emotionally expressive, evaluative structures, and in non-fiction. – subject-logical. Some genres are inherently entertaining. intermediate position between art. and non-artist genres (memoirs, diaries, letters).

Language thin literature, is contrasted with functional styles in at least three ways:

1) differs from functional styles that fulfill their practical purposes. features, special aesthetic. a function inextricably linked with figurative expression and depiction of reality;

2) different from the functional styles by the specifics of the language norm;

3) distinguished by openness, widely used. verbal series of all functions. styles and spoken language. Therefore, we should not talk about “art. style." and about the language of the artist. literature, or more precisely, about aesthetics. functions of language in works of art. literature.

Aesthetic language function... Manifest language perfectly. form, in harmony of content and form, in clarity, clarity, conciseness, grace, simplicity, harmony of verbal expression, i.e. in what can be said in connection with the concept of artistry.

The main thing that distinguishes the aesthetic function of language from its “practical” function (communication, message, influence) is the focus of the form of verbal expression not only on the transmission of this or that content, but also on its own perfection, which allows one to feel the beautiful in the language itself. If “the practical functions of language require work on the word with the goal of the most accurate, clear and publicly accessible expression of information, then aesthetic. The function of language requires, in addition, work on the word in order to reveal to the reader and listener the beauty in the word itself.

The question of “poetic language”. Nekot. scientists also distinguish “poetic language”. But the term “poetic. language" reflects the long-standing division into poetry and prose, when poetry was understood as any piece of art. literature, and under prose - non-artist. => There are no compelling reasons to distinguish between artistic language. literary and poetic language. This is essentially the same thing.

Gorshkov, relying on the opinion of G. Vinokur and V. Vinogradov, says that “poetic. language" and "natural." Language should not be contrasted; we are talking about varieties of use of one language. Any linguistic phenomenon under special functional and creative conditions can become poetic.

Poetic language can use:

Period (complex syntactic and rhythmic-intonation structure, divided into 2 parts: rise, acceleration of the theme and sharp intonation decline)

Lexical repetition: anaphora (unity of command), epiphora (the end is repeated), sound ring (the beginning and end are constructed in the same way), junction

Syntactic repetition: parallelism (repeats the model of syntactic structure), antithesis, gradation, zeugma (combination of the incompatible, engineer and coward), amplification (many homogeneous members), polysyndeton (multi-union), asyndeton (absence of conjunctions when enumerating) anadiplosis (next sentence. starts with the same words)

Sound repetitions: alliteration (repetition of consonants), assonance (repetition of vowels), rhyme

stylistic characteristics of variant forms of the verb

There are many options in the verbal inflection system

Of stylistic interest, of course, is the appearance of expressive colors in the same or other variant forms and the possibility of using them with a certain stylistic task.

According to modern norm the infinitive of verbs with stems ending in -ti: wander, weave, bloom (with the exception of the verbs curse, steal, climb, fall, sit down and some others). IN THE NINETEENTH V. Truncated forms of such verbs were also widely used: I wish I could bring you and my aunt together; I don’t dare pronounce my judgment (Gr.). We perceive them as outdated, but in poetic speech these options are still retained as convenient for versification: I know - the garden is in bloom (Lighthouse). Other verbs have received a vernacular coloring and attract writers as a means of stylization: After lunch the women began to row. The mown grass withered and dried (Shol.). Finally, a number of verbs are fixed in colloquial speech in a truncated version, and in written language - with the ending -ti: to acquire - to acquire, to transfer - to transfer, to blossom - to blossom.

In verb pairs see - see, hear - hear the latter, used only in the indefinite form and past tense, have a colloquial connotation: If Bela is not here tonight, then you will not see the horse (L.).

Of the two options to whistle - whistle the second one can receive a stylistic coloring in the context: All hands on deck! - and then used in professional speech; in other cases, the same form sounds like a colloquial one, for example, used in a figurative meaning - “to hit with force”: this is how the blood whistles (L. T.).

Of the options to raise and raise, the second has a colloquial connotation: The gypsies... lifted their [horses] legs and tails, shouted, scolded (T.), however, the personal forms formed from it are given with marks (book), (verb.): I lift, you lift.

Of the options to grow old - to grow old, the second is given with litters (obv.),(simple): What to do? your wife is getting old, and you are full of life (L. T.). Of the options to suffer - to suffer (I am suffering, suffering, suffering, etc.) the second is colloquial.

The variants of the indefinite form of the verb like achieve - achieve are not stylistically different, but the shorter form displaces the competing one, which is obviously dictated by the desire to save speech means. In colloquial speech, therefore, the predominance of the truncated version is especially noticeable.

The same tendency towards the displacement of longer forms also leads to the consolidation in the literary language of past tense verbs like sokh and the gradual archaization of their variants - sokhul. Evidence of this is the inclusion of S.I. Ozhegov added only short versions of the 22 most common verbs of this group to the dictionary: died, stalled, chilled, froze, smelled, dry etc. They are also accompanied by verbs of the perfect form with an indivisible base: plunged, invaded, comprehended, fell silent, verse. However, in book styles one still encounters the use of their non-truncated versions: The snow stuck to the skis, and this made it easier to climb (from gas). And the snow on the mountains... receiving the last reflections of the sun, turned pink and quickly faded (Ait.).

More clearly contrasted variant forms of prefixed verbs with the suffix -well- and without it: dried up - dried up, disappeared - disappeared, got wet - got wet, arose - arose, died down - died down. First out of use(in spelling dictionaries since 1957 only suffixless forms of this group of verbs are given) and can be justified only in poetic speech as a means of versification: You are standing in the final subway with your head open, and your finger is frozen in the disk, like in a ring (Asc.).

The same the process of reduction of the suffix -nu- is also manifested in the formation of participle forms from the corresponding verbs:

Some verbal forms are not so clearly distinguished by their stylistic coloring, but are still used primarily in colloquial speech: measure - I measure, you measure, measures, they measure; climb - climb, climb, etc., and their variants are in the book: measure - measure, measure, measure, measure; climb - I get along, you climb, etc.

A number of unproductive verbs in -et: recover, disgust, disgust in colloquial speech are used in the contracted form: I will recover, disgust, disgust, recover, etc. Survey data suggests that new variants may become established in the language as normative ones.

Many variants are known in the 1st person form for verbs with a base on the consonants d, t, z, s, requiring alternation: to climb - I’m getting along, to wheel around - I’m pounding, to plant - I’ll plant, to stop - I’ll stop. Deviations from normative forms that arise during the formation of the 1st person without alternation are of a sharply reduced nature: climb out - climb out - (simple) climb out; ride - ride - (simple) ezdiyu, as well as (simple): kadu, buzyu; (colloquial) vacuuming. In pairs of words I gravitate - I gravitate, svyachu - sanctify, zlachu - zlaschu the latter have an archaic connotation, which is associated with their Old Slavic origin.

At the beginning of the twentieth century. the composition of the old forms was wider. So, V.I. Chernyshev gives an example in his stylistic grammar: I will nail him to the ground with a spear; I’ll enjoy it at Derzhavin’s, and I’ll get a reward at Lomonosov’s. Nowadays, such options seem unacceptable; the only form given in dictionaries is nail.

From many unproductive verbs it is impossible to form the 1st person form: win, convince, find yourself, wonder, wonder, blow, please, etc. However, this phenomenon of “insufficient conjugation” is overcome in common speech, and personal forms of the verb that are unusual for the ear are sometimes used; Wed in the song by V. Vysotsky: I will defeat the miracle of Juda anyway. Verb forms formed contrary to the phonetic-orthoepic norms existing in the language are sometimes given in dictionaries with the mark (jokingly): I will convince, I will win, I will convince.

In dialects, variants of personal forms of verbs that do not reflect the alternations inherent in the literary language are represented very widely: I grind, I pay, I ask, I empty, I walk, I joke, but due to their decline they do not penetrate into book styles.

Verbs with -ch in the infinitive: burn, flow, oven(16 word forms in total), form variant forms of the 3rd person singular: along with literary ones - burns, flows, bakes - colloquial ones - burns, flows, bakes. How sharply reduced, colloquial dialectal options are used by writers when reproducing the speech of heroes: - Untie, brother, ashamed in front of people... - You lie, you will run away, I will untie you in the hut (Seraph.); You silenced her, Shibalok, you must finish her off... but no, we’ll flog you into cabbage (Shol.).

Variants that contrast in stylistic coloring form verbs in the imperative mood. In pairs of words, lie down - lie down (lie down), run - run (run), don't touch - don't touch, wait - wait, come out - come out, lay out - lay out and under. the first are literary, the second are colloquial. A number of options have the mark (colloquial): verify, hang out, push out, clean, ride, beg, nurse [but (simple) nurse], spoil, clean, etc. with literary uncontracted forms: check, clean, etc. Individual options outdated: rashes, adhesives, scree.

Stylistically, they stand out as special truncated forms of the imperative mood of reflexive verbs in orders (among the military, tourists: Be equal!; Pay off in the order of numbers!). Such options are used only in oral speech.

The source of variability in verb formation is also the aspectual pairs of the type determine - condition, condition (over 20 verbs). Some of them, like those given above, are stylistically equivalent and therefore are not marked in dictionaries that provide both options. However, most of the options are contrasted as outdated and modern: touch - touch, prepare - prepare, appease - appease, challenge - challenge; compare: for Pushkin the first one was still ordinary: And don’t argue with a fool. Others are marked with the mark (book): to freeze, to agree, and some - with the mark (colloquial): to suspect, to provoke, to coincide, to separate. Some options have been forgotten by now: formalize, familiarize, speed up.

Suffixal word formation of verbs also gives rise to variants such as crawl out - crawl out, measure out - measure out. Some of them are used in parallel, without receiving stylistic coloring: to manufacture - to manufacture, to adapt - to adapt; Wed: The tent is made of fairly dense but light fabric; It seems advisable to make air mattresses from elastic, for example polyethylene, cylinders (gas). However, “for the majority of verbs of this type in the modern language, there has been a redistribution of the stylistic functions of different suffixal forms of the imperfective form: in pairs where both options are possible, forms with the suffix -a- are more colloquial, with -ыва- more bookish.” The exception is the obsolete variants assimilate (cf. assimilate), assign (from assign).

Some verbs with the suffixes -izirova-, -izova- also vary: standardize - standardize, colonize - to colonize. Their correlation in the Russian language has changed historically; for a number of verbs, variants with the suffix -izirova- have become archaic and now only shorter variants are used: demoralize, decentralize, localize, mobilize, materialize, normalize, paralyze. For others, variants with the suffix -izova- have fallen out of use: to canonize, to concretize. Intransitive verbs with the suffix -izirova- do not form variants: to ironize, to sympathize, and individual transitive ones: to hypnotize, to magnetize.

In cases of using variants of this type, it can be recommended to rely on tradition, since most of these verbs have a terminological meaning and, like terms, are fixed in the corresponding styles. It is difficult to talk about differences in their stylistic coloring, since these words, formed from borrowed stems, have a clearly expressed bookish character, and no less, as stylists point out, a more bookish character is inherent in the variants with the element -ir-. In dictionaries, such verbs do not have stylistic markings.

For stylistics, those options that are a violation of the literary norm are interesting, since they have a bright expressive coloring, allowing them to be used as a characterological means, and addressing them requires a stylistic justification, the use - a special flair and linguistic taste.

A number of verbs that have peculiarities in word formation with close semantics form synonymous pairs that are stylistically different. Thus, non-reflexive and reflexive verbs like green-green (meaning “to stand out with its green color”) are distinguished by the colloquial connotation of the second; cf.: And the spruce turns green through the frost, and the river glitters under the ice (P.) - Under the large tent of blue skies I see - the distance of the steppes is turning green (Ring). The same ratio of pairs turns white - turns white, turns red - turns red, turns black - turns black, of which the return pairs have a colloquial connotation and a subtle semantic difference: they indicate a less clear manifestation of the attribute.

The pairs call - ring, knock - knock, threaten - threaten, splash - splash, spit - spit are also synonymous, but return ones can indicate greater intensity of action, interest in its result, moreover, they have a colloquial or vernacular connotation.

Certain verbs formed with the help of the postfix -sya are perceived in certain meanings as obsolete: The son-in-law nodded off every minute (G.); A spark of hope smoldered in his soul - to be resurrected and refreshed in the silence of solitude (Bel.).

The composition of a verbal work and its various aspects. Composition as a “system for deploying verbal series” (V. Vinogradov).

Composition (from Latin - composition, composition, connection). In a broad sense, the name is composition. construction, mutual location and relationship of parts of something. production (verbal, musical, pictorial, graphic, etc.). composition common to all texts.

Composition in literature. Correlating with the concept of composition in literature are the concepts of architectonics, plot and plot.

Architectonics(from Greek - builds. art) - external form of produced literature, its location parts: prologue, epilogue, chapter, book, om; in poetry productions - stanza and so-called. “solid forms” of verse: sonnet, wreath of sonnets, French. ballad, rondo, etc.

Plot(from French - subject) a set of events, depicted. s work

plot(from Latin - history, story) sequentially. development of events and incidents in production. based on the plot.

"Hero of our time". Architectonics: Preface – Part One. Bela - Maxim Maksimych - Pechorin's Journal. Preface – Taman – Part two. Princess Mary - Fatalist. Order of events in time: Taman - Princess Mary - Bela - Fatalist (in the middle of Bela) - Maxim Maksimych.

Composition verbal. production, due to its complexity and multi-aspect nature, is understood and defined differently. the development of a plot in which such generalizations are highlighted. parts: exposition – plot – development – climax – denouement.

Another interpretation of composition, more related to the peculiarities of verbal creativity: “motivated arrangement of “segments” of the text. Each “segment” as part of the verbal whole is characterized by one or another form of verbal expression sustained throughout its entire length (narration, description, reasoning, dialogue) , or the point of view of the author, narrator, character from which the presentation is carried out.”

Vinogradov put forward an understanding of artistic composition. text “as a system of dynamic deployment of words. rows in the complex unity of the whole

Zhirmundsky wrote about the importance of material for composition, Bakhtin considered it wrong to put material at the forefront.

a word series is a category of text. There is no next row outside the text.

2. the sl. row was used in a broad sense (in the sense of “linguistic”) and presupposed. not only lexical. series, but also a series characterized by phonetic, morphological, word-formation, syntactic. signs or definition ways of constructing text (tropes, figures). => A verbal sequence is a sequence of languages. units of different tiers (and not just tiers of vocabulary).

3. The terms of the next row are not necessarily located in a row, one after the other (contact). Most often, they are separated from each other by terms of other next rows (i.e., located distantly). A verbal sequence is not necessarily a continuous sequence of its constituent components.

4. Word sequences can be distinguished according to various characteristics, the main one being correlation with something. sphere of language use and definition. method of text construction.

Verbal sequence is a sequence (not necessarily continuous) of linguistic units of different tiers presented in the text, united by a compositional role and correlation with a certain sphere of use or with a certain method of constructing the text

Functionally-stylistically colored vocabulary includes, first of all, words that are most or exclusively used in a particular speech area corresponding to one of the functional styles. The tradition of use, attachment to a specific situation and the purpose of communication lead to the appearance of functional and stylistic coloring in these words. From a functional-stylistic point of view, such types of stylistic coloring as bookish and colloquial can be distinguished, which stand out against the background of neutral, stylistically uncolored units.

In each type of speech, words characteristic of it are used, which have a corresponding stylistic coloring. And only neutral words are used everywhere, in all its varieties, since they have zero stylistic coloring. And they form the basis, the background of any speech. If we take neutral words as a starting point, then bookish words will be higher than neutral ones, since they elevate the style of presentation, give it a bookish and even high coloring, and colloquial (and colloquial) words will be lower than neutral ones - they lower the style, give the speech a lower and often rough color:

(high color)

Neutral words

(zero color)

Conversational

(reduced color)

For example, girl is a word that can be used in any speech, it is neutral; maiden - bookish, high, characteristic of book contexts, and maiden has a clearly reduced coloring - colloquial and even colloquial.

Book words, in contrast to neutral and colloquial ones, have a stylistic connotation that elevates the style of presentation. These are words that are used exclusively in the written and book sphere; introducing them into colloquial speech gives it a touch of bookishness. In the book vocabulary there is a layer of words with the coloring “bookish” and layers of words with a double coloring: “bookish and official business”, “bookish and scientific”, “bookish and journalistic”, “bookish and poetic”. At the same time, book vocabulary can have various types of expressive and emotional coloring. Book words are associated with the sphere of intellectual communication (dissent, immanent, nihilism, level). A significant part of them are borrowed words (sarcasm, phenomenon, extreme, dominant, skepticism), as well as words of Church Slavonic origin (reverent, beneficence, reward, exalt, power-lover, overthrow, clergyman).

Examples of book vocabulary: analogy, anomalous, antipode, apologist, apotheosis, aspect, association, vandalism, vassal, variation, persecution, statehood, disorientation, declarative, unanimity, for, isolation, impulse, etc. In part, this category of words is close to general scientific vocabulary, and partly - commonly used.

Colloquial vocabulary is words that, being literary, give speech a colloquial character. These are words used by people who speak a literary language in a relaxed atmosphere, in the sphere of informal communication. Being introduced into book and written speech, they violate the unity of style. Examples: gasp, joke, balam, chase, to smithereens, fidgety, grunt, waddle, cry, dress up, inventor, reveler, flu, cheap, malicious, greedy, hitch, sucker, mischief, snapped up, tender, slap, get sick, push through, get sick, cartoon, calm down, physiognomy, etc.

The difference in stylistic coloring between book and colloquial vocabulary is more noticeable when comparing synonyms (where they exist) against the background of neutral vocabulary.

The vocabulary of conversational style coloring (at the same time characteristic of the predominantly oral form of the everyday sphere of communication) is correlated with the colloquial everyday functional style and has its coloring.

Book words are inappropriate in a casual conversation: “The first leaves appeared on the green spaces,” “We walked in the forest and sunbathed by the pond.” Faced with such a mixture of styles, we hasten to replace foreign words with their commonly used synonyms (not green spaces, but trees, bushes; not a forest, but a forest; not a reservoir, but a lake).

Colloquial, and even more so colloquial, that is, words that are outside the literary norm, cannot be used in a conversation with a person with whom we have official relations, or in an official setting.

The use of stylistically colored words must be motivated. Depending on the content of the speech, its style, on the environment in which the word is born, and even on how the speakers relate to each other (with sympathy or hostility), they use different words.

High vocabulary is necessary when talking about something important and significant. This vocabulary is used in the speeches of speakers, in poetic speech, where a solemn, pathetic tone is justified. But if, for example, you are thirsty, it would not occur to you to turn to your friend with a tirade on such an occasion: “Oh, my unforgettable comrade-in-arms and friend! Quench my thirst with life-giving moisture!”

If words with one stylistic connotation or another are used ineptly, they give the speech a comical sound.

In addition to its main part - the lexical meaning - the content of a word includes some other components. Let us compare, for example, the words titanic and enormous. Both of them mean “very large,” but in general they differ in their content, and it is impossible to use one instead of the other without taking these differences into account. The difference between them is that the word huge can be used in a variety of communication situations, and the word titanic can only be used in solemn situations.

The contrast between the words huge and titanic shows that in language there is a difference between sublime and neutral units. Analysis of the series dead - lifeless - lifeless, in which the words are united by the meaning “deprived of life,” shows that the word neutral can be opposed by words of varying degrees of “sublimity”: lifeless is characterized a weak degree of elevation (book coloring), and the lifeless one - a strong degree of elevation (has the mark “high” in dictionaries).

The difference between words on the basis of neutrality - bookishness - loftiness is a difference in expressive-stylistic meaning. It generally indicates in what situations the use of the word is appropriate.

Let's continue the comparison and consider the series get bored - get sick of - get sick of. The difference between them lies, as it were, on the other side of the neutral, “zero” expressive-stylistic mark: the neutral word nadosti is contrasted with two stylistically reduced words - the colloquial disgust and the colloquial tire, reflecting a weaker and stronger degree of decline.

Neutral words, the most necessary and frequency units of language (speak, know, big, time, person, etc.), are opposed, on the one hand, by words of two degrees of elevation (book and high), and on the other - by words of two degrees of decline ( colloquial and colloquial): die (high) - rest in peace (obsolete bookish) - die (neutral) - get lost (colloquial); for (bookish) - because, since (neutral) - because (colloquial) - because (colloquial); kidnap (bookish) - steal (neutral) - drag away (colloquial) - steal, steal (colloquial).

The place of a neutral member in the expressive-stylistic ranks is always filled, and the place of one or another elevated or reduced member may be empty.

In addition to the differences between words in expressive and stylistic coloring (elevated - neutral - reduced), there are other contrasts between them. A comparison of the words court and judgment shows that words can differ in meaning, which can be called evaluatively stylistic. The word court denotes this phenomenon neutrally, without giving it any additional assessment, while the word judgment, naming the phenomenon, also conveys a disapproving assessment of it, enshrined in the language and especially expressed by the suffix (compare also: communicate - mingle, interfere - meddle (into) , agreement - conspiracy, etc.).

At first glance, it may seem that words that are stylistically lowered are words with a negative emotional assessment, and words that are elevated convey the speaker’s approving attitude towards the designated phenomena. But this is not so: for example, high words (guardian, soar, pearl), and bookish (tirade, synclit), and neutral (orate, newly-minted), and not just lower colloquial and colloquial words (to become kind, sentimental, etc.) have an ironic connotation. P.).

Annotation:The use of stylistic coloring of linguistic units in creating an image. Book and colloquial functionally and stylistically colored vocabulary. Its emotional-evaluative variety.

Keywords: stylistics, syntax, synonym, artistic speech, brightness of speech, words, language, development, stylistic resources

The Russian language is a broad, comprehensive concept. Laws and scientific works, novels and poems, newspaper articles and court records are written in this language. The Russian language has inexhaustible possibilities for expressing a wide variety of thoughts, developing a variety of topics, and creating works of any genre.

However, language resources must be used skillfully, taking into account the speech situation, the goals and content of the utterance, and its targeting. When thinking about the richness of the Russian language, one should not lose sight of stylistics. Its skillful use opens up wide possibilities for enhancing the emotionality and brightness of speech.

Modern Russian is one of the richest languages in the world. The high advantages of the Russian language are created by its huge vocabulary, wide ambiguity of words, wealth of synonyms, inexhaustible treasury of word formation, numerous word forms, peculiarities of sounds, mobility of stress, clear and harmonious syntax, and variety of stylistic resources.

The Russian language is a broad, comprehensive concept. Laws and scientific works, novels and poems, newspaper articles and court records are written in this language. Our language has inexhaustible possibilities for expressing a wide variety of thoughts, developing a variety of topics, and creating works of any genre. However, language resources must be used skillfully, taking into account the speech situation, the goals and content of the utterance, and its targeting. When thinking about the richness of the Russian language, one should not lose sight of stylistics. Its skillful use opens up wide possibilities for enhancing the emotionality and brightness of speech.

What is stylistics?

There are ancient sciences, the age of which is measured not even in centuries, but in millennia. Medicine, astronomy, geometry. They have a wealth of experience, research methods developed over centuries, traditions that are often continued in our time. There are also young sciences - cybernetics, ecology, astrobotany. They were born in the 20th century. This is the brainchild of rapid scientific and technological progress. But there are also sciences without age, or more precisely, with a difficult to determine age. This is the style.

Stylistics is very young, as it became a science and was formed as an independent branch of knowledge only at the beginning of the twentieth century, although people have been interested for a very long time not only in what he says, but also in how he says it. And this is what stylistics does. Stylistics comes from the word style (stylus) - this is what the ancients called a pointed stick, a rod for writing on wax tablets. In this meaning (pen, writing instrument) in the Russian language the now outdated cognate word stylo was used. But the history of the term stylistics does not end there. The word style then acquired the meaning of handwriting, and later expanded even more and began to mean manner, method, features of speech. Any developed language, be it Russian or Chinese, Spanish or Mongolian, English, French or German, is extremely beautiful and rich.

Many people know the inspired lines of M. Lomonosov about the Russian language: “Charles the Fifth, the Roman Emperor, used to say that it is decent to speak Spanish with God, French with friends, German with enemies, Italian with the female sex. But if he were skilled in the Russian language, then, of course, he would have added that it is decent for them to speak with all of them. For I would find in it the splendor of Spanish, the liveliness of French, the strength of German, the tenderness of Italian, and, moreover, the richness and strong depiction of the brevity of the Greek and Latin languages.” Each language is beautiful in its own way. But the native language is especially dear. What is the wealth, beauty, strength, expressiveness of language?

The artist conveys the beauty of the material and spiritual world through paints, lines of color; musician, composer express the harmony of the world in sounds, sculptor uses stone, clay, plaster. Words and language have access to color, sounds, volumes, and psychological depth. Its possibilities are endless. A. Akhmatova wrote:

Gold rusts and steel decays,

Marble is crumbling. Everything is ready for death.

The most lasting thing on earth is sadness

And more durable is the royal word. With what respect the poet speaks about the word - royal! It is more durable than gold, marble, steel. Everything passes. The Word remains. How does this happen? How does a word become royal? How are the magical lines “I remember a wonderful moment...” born from the most ordinary words, consisting of sounds or letters? Stylistics tries to answer this question. He strives to solve this riddle, to explain the miracle of transforming words into poetry and harmony. One possible explanation is the existence of particularly expressive words and expressions that make up the richness of the language. These are the words that stylistics is interested in. How can a text attract us? First of all, of course, the brightness and richness of colors, that is, figurative expressions.

Here are two suggestions:

1. Below was Kazbek, covered with never-melting snow.

2. Under him, Kazbek, like the face of a diamond, shone with eternal snow. (M. Lermontov).

Both sentences contain the same idea, but the difference between them is enormous. If in the first phrase we are given information, information, then in the second we see a picturesque picture painted with words. Just a few words - and before us is an amazing picture. This is the beauty of poetry and fiction in general - to paint with words. And there are words, figures of speech, special techniques, as if intended for depiction in words.

stylistics vocabulary language

Stylistic coloring of linguistic units

For stylistics studying the language of fiction, it is very important to see the possibilities contained in the language, in the word, to distinguish the subtlest shades of the meaning of a particular expression. All educated people can write and speak correctly as taught by grammar. However, this is not enough for the art of words. Artistic speech must not only be correct, but also expressive, figurative, and accurate.

There are many amazing words in the Russian language that stop your attention. At first glance, there is nothing unusual - the word is just a word. But you need to listen to its sound, and then the miracle contained in this word will be revealed. Everyone is familiar, for example, with the word sunflowers, or sunflowers. Indeed, the most common word. But let's listen to its sounds: under the sunflower - under the sun. It means growing under the sun. The sounds not only name the plant, but also draw it. You hear a sunflower, and immediately these beautiful, slender plants appear before your eyes, bearing round golden shaggy hats on tall stems. And these same hats are always turned towards the sun, absorbing its rays, energy, and strength. Sunflower - reaching towards the sun. Not a word, but a picture. In its name, people highlighted the most important feature of the plant. In order to discover the beauty of the sound of a word, you must be able to listen, you must love language. The wonderful Russian writer K. Paustovsky was a subtle connoisseur and observer of the beauty of the folk word. In his book “Golden Rose”, which talks about how a writer works, there is a chapter dedicated to the writer’s work on the word, it is called “Diamond Language”. It is preceded by an epigraph from N. Gogol: “You marvel at the preciousness of our language: every sound is a gift; everything is grainy, large, like the pearl itself, and, truly, another name is even more precious than the thing itself.” And further K. Paustovsky writes: “Many Russian words themselves radiate poetry, just as precious stones radiate a mysterious shine.

It is relatively easy to explain the origin of the “poetic radiation” of many of our words. Obviously, a word seems poetic to us when it conveys a concept that is filled with poetic content for us. But the effect of the word itself (and not the concept that it expresses) on our imagination, at least, for example, such a simple word as lightning, is much more difficult to explain. The very sound of this word seems to convey the slow night brilliance of distant lightning. Of course, this feeling of words is very subjective. You cannot insist on it and make it a general rule. This is how I perceive and hear this word. But I am far from the idea of imposing this perception on others. These simple words revealed to me the deepest roots of our language. The entire centuries-old experience of the people, the entire poetic side of their character was contained in these words.” So, many Russian words radiate poetry.

In the dry and precise language of science, stylistics, this means that they have a stylistic coloring, that is, they not only name, but also evaluate the named object, express the emotions (feelings) associated with it, expression (strengthen the meaning), evaluation - approval (cute ), disapproval (chattering, slob), affection, familiarity (trouble, showing off), condemnation, joke, etc.

In explanatory dictionaries of the Russian language, such words are accompanied by stylistic marks, that is, a characteristic of the evaluation or feeling expressed by the word: humorous, ironic, familiar, contemptuous, disapproving, abusive, etc. These are stylistically colored words, that is, words that have a stylistic coloring - an emotional, expressive meaning, which, as it were, is added to the main meaning that names, defines the object.

In the meaning of a word, in addition to the subject information and the conceptual and logical component, connotations are distinguished - additional meanings, i.e. by definition O.S. Akhmanova in the “Dictionary of Linguistic Terms”, “accompanying semantic or stylistic shades... to express various kinds of expressive-emotional-evaluative overtones.” For example, a brother is a son in relation to other children of the same parents. Brother is the same as brother plus the affection and diminutive expressed by this word (about a child). This tenderness that sounds in a word is connotation, or stylistic coloring. It seems to be superimposed on the main meaning, added to it. So, the stylistic connotation of a linguistic unit is those expressive or functional properties (components of meanings) additional to the expression of subject-logical and grammatical meanings, which limit the possibilities of using this unit to certain spheres and conditions of communication and thereby carry stylistic information.

Literature

Golub I.B. Russian language and culture of speech: Textbook M.: Logos, 2002. - 432 pp.
Dunev A.I., Dysharsky M.Ya., Kozhevnikov A.Yu. And etc.; Ed. Chernyak V.D. Russian language and a culture of speech. Textbook for universities. M.: Higher school; WITH. - PB.: Publishing house of the Russian State University for the Humanities named after. Herzen A.I., 2002. - 509s.
Solganik G.Ya. Stylistics of the Russian language. 10-11 grades: Textbook for general education institutions. M.: Bustard, 2001. - 304s.
Kozhina M.N. Stylistics of the Russian language a: Textbook for students of pedagogy. institutions. M.: Education, 1993. - 224s.

The stylistic coloring of a word depends on how it is perceived by us: as assigned to a particular style or as appropriate in any speech situation, that is, in common use.

We feel the connection between words and terms with the language of science (for example: quantum theory, experiment, monoculture); highlight journalistic vocabulary (worldwide, law and order, congress, commemorate, proclaim, election campaign); We recognize words in official business style by the clerical coloring (victim, accommodation, prohibited, prescribe).

Bookish words are inappropriate in casual conversation: ʼʼOn green spaces the first leaves appeared; ʼʼWe walked in the forest array and sunbathed by the pond. Faced with such a mixture of styles, we hasten to replace foreign words with their commonly used synonyms (not green spaces, A trees, bushes; Not Forest, A forest; Not water, A lake).

The use of stylistically colored words must be motivated. Taking into account the dependence on the content of speech, its style, on the environment in which the word is born, and even on how the speakers relate to each other (with sympathy or hostility), they use different words.

High vocabulary is necessary when talking about something important and significant. This vocabulary is used in the speeches of speakers, in poetic speech, where a solemn, pathetic tone is justified. But if you, for example, are thirsty, it wouldn’t occur to you to turn to a friend with a tirade on such a trivial matter: ʼʼ O my unforgettable comrade and friend! Quench my thirst with life-giving moisture!ʼʼ

If words with one stylistic connotation or another are used ineptly, they give the speech a comical sound.

Even in ancient manuals on eloquence, for example in Aristotle's Rhetoric, much attention was paid to style. According to Aristotle, he “must approach the subject of speech”; important things should be spoken seriously, choosing expressions that will give the speech a sublime sound. Trifles are not spoken about solemnly; in this case, humorous, contemptuous words are used, that is, reduced vocabulary. M.V. Lomonosov also pointed out the opposition between “high” and “low” words in the theory of “three calms”. Modern explanatory dictionaries give stylistic marks to words, noting their solemn, sublime sound, as well as highlighting words that are degraded, contemptuous, derogatory, dismissive, vulgar, abusive.

Of course, when talking, we cannot look into the dictionary every time, clarifying the stylistic markings for this or that word, but we feel which word needs to be used in a certain situation. The choice of stylistically colored vocabulary depends on our attitude to what we are talking about. Let's give a simple example.

The two were arguing:

I can't take seriously what this guy says blond youth,- said one.

And in vain, - objected another, - the arguments for this blond boy very convincing.

These contradictory remarks express different attitudes towards the young blond: one of the debaters chose offensive words for him, emphasizing his disdain; the other, on the contrary, tried to find words that expressed sympathy. The synonymous riches of the Russian language provide ample opportunities for the stylistic choice of evaluative vocabulary. Some words contain a positive assessment, others - a negative one.

Emotionally and expressively colored words are distinguished as part of the evaluative vocabulary. Words that convey the speaker's attitude to their meaning belong to emotional vocabulary (emotional means based on feeling, caused by emotions). Emotional vocabulary expresses various feelings.

There are many words in the Russian language that have a strong emotional connotation. This is easy to verify by comparing words with similar meanings: blond, blond, whitish, white, white, lily; handsome, charming, charming, delightful, cute; eloquent, talkative; proclaim, blurt out, blurt out etc. By comparing them, we try to choose the most expressive ones, which can convey our thoughts stronger and more convincingly. For example, one could say I do not like, but you can find stronger words: I hate, I despise, I am disgusted. In these cases, the lexical meaning of the word is complicated by special expression.

Expression means expressiveness (from lat. expressio- expression). Expressive vocabulary includes words that enhance the expressiveness of speech. Often one neutral word has several expressive synonyms that differ in the degree of emotional stress: misfortune, grief, calamity, catastrophe; violent, unrestrained, indomitable, furious, furious. Often synonyms with directly opposite connotations gravitate towards the same neutral word: ask- beg, beg; cry- sob, roar.

Expressively colored words can acquire a variety of stylistic shades, as indicated by the marks in dictionaries: solemn (unforgettable, accomplishments), high (forerunner), rhetorical (sacred, aspirations), poetic (azure, invisible). All of these words differ sharply from the reduced ones, which are marked with marks: humorous (blessed, newly minted), ironic (deign, vaunted), familiar (not bad, whisper), disapproving (pedant), dismissive (daub), contemptuous (sycophant) derogatory (squishy), vulgar (grabber), expletive (fool).

Evaluative vocabulary requires careful attention. Inappropriate use of emotionally and expressively charged words can give speech a comical sound. This often happens in student essays. Eg: “Nozdryov was an inveterate bully.” “All Gogol’s landowners are fools, parasites, slackers and dystrophics.”

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