The artistic style of speech, its features and substyles. Artistic speech style

The literary and artistic style serves the artistic and aesthetic sphere of human activity. Artistic style is a functional style of speech that is used in fiction. The text in this style affects the imagination and feelings of the reader, conveys the thoughts and feelings of the author, uses all the richness of vocabulary, possibilities different styles, characterized by figurativeness, emotionality, concreteness of speech. The emotionality of the artistic style differs significantly from the emotionality of the colloquial and journalistic styles. The emotionality of artistic speech performs an aesthetic function. Artistic style involves a preliminary selection of language means; all language means are used to create images. A distinctive feature of the artistic style of speech is the use of special figures of speech, the so-called artistic tropes, which give color to the narrative, the power of depicting reality. The function of the message is connected with the function of aesthetic impact, the presence of imagery, the totality of the most diverse means of language, both general language and individual author's, but the basis of this style is general literary language means. Characteristic features: presence homogeneous members sentences, complex sentences; epithets, comparisons, rich vocabulary.

Substyles and genres:

1) prosaic (epic): fairy tale, story, story, novel, essay, short story, essay, feuilleton;

2) dramatic: tragedy, drama, comedy, farce, tragicomedy;

3) poetic (lyric): song, ode, ballad, poem, elegy, poem: sonnet, triolet, quatrain.

Style-forming features:

1) figurative reflection of reality;

2) artistic-figurative concretization of the author's intention (a system of artistic images);

3) emotionality;

4) expressiveness, appraisal;

6) speech characteristics of characters (speech portraits).

General linguistic features of the literary and artistic style:

1) a combination of language tools of all other functional styles;

2) the subordination of the use of language means in the system of images and the intention of the author, figurative thought;

3) the performance of the aesthetic function by language means.

Language means of artistic style:

1. Lexical means:

1) rejection of template words and expressions;

2) the widespread use of words in a figurative sense;

3) intentional clash of different styles of vocabulary;

4) the use of vocabulary with a two-dimensional stylistic coloring;

5) the presence of emotionally colored words.

2. Phraseological means- colloquial and literary character.

3. Word-forming means:

1) the use of various means and models of word formation;

4. Morphological means:

1) the use of word forms in which the category of concreteness is manifested;

2) frequency of verbs;

3) passivity of indefinite personal forms of verbs, forms of the 3rd person;

4) insignificant use of neuter nouns compared to masculine and feminine nouns;

5) shapes plural abstract and material nouns;

6) wide use of adjectives and adverbs.

5. Syntactic means:

1) the use of the entire arsenal of syntactic means available in the language;

2) wide use of stylistic figures.

8. The main features of the conversational style.

Features of conversational style

Conversational style - a style of speech that has the following features:

used in conversations with familiar people in a relaxed atmosphere;

the task is to exchange impressions (communication);

the statement is usually laid-back, lively, free in the choice of words and expressions, it usually reveals the author's attitude to the subject of speech and the interlocutor;

characteristic language means include: colloquial words and expressions, emotionally-evaluative means, in particular with suffixes - points-, -enk-. - ik-, - k-, - ovate-. -evat-, verbs perfect look with a prefix for - with the meaning of the beginning of the action, treatment;

incentive, interrogative, exclamatory sentences.

opposed to book styles in general;

the function of communication is inherent;

forms a system that has its own characteristics in phonetics, phraseology, vocabulary, syntax. For example: phraseology - running away with the help of vodka and drugs is not fashionable now. Vocabulary - buzz, in an embrace with a computer, climb into the Internet.

Spoken language is a functional variety literary language. It performs the functions of communication and influence. Colloquial speech serves such a sphere of communication, which is characterized by the informality of relations between the participants and the ease of communication. It is used in everyday situations, family situations, at informal meetings, meetings, informal anniversaries, celebrations, friendly feasts, meetings, in confidential conversations between colleagues, a boss with a subordinate, etc.

Themes colloquial speech determined by communication needs. They can vary from narrow everyday to professional, industrial, moral and ethical, philosophical, etc.

An important feature of colloquial speech is its unpreparedness, spontaneity (Latin spontaneus - spontaneous). The speaker creates, creates his speech immediately "clean". As the researchers note, linguistic conversational features are often not realized, not fixed by consciousness. Therefore, often when native speakers are presented with their own colloquial statements for normative assessment, they evaluate them as erroneous.

The following characteristic feature of colloquial speech: - the direct nature of the speech act, that is, it is realized only with the direct participation of the speakers, regardless of the form in which it is realized - in dialogical or monologue. The activity of the participants is confirmed by utterances, replicas, interjections, and simply sounds made.

On the structure and content of colloquial speech, the choice of verbal and non-verbal means of communication big influence have extralinguistic (extralinguistic) factors: the personality of the addresser (speaker) and addressee (listener), the degree of their acquaintance and proximity, background knowledge (the general stock of knowledge of the speakers), the speech situation (the context of the utterance). For example, to the question "Well, how?" depending on the specific circumstances, the answers can be very different: "Five", "Met", "I got it", "Lost", "Unanimously". Sometimes, instead of a verbal answer, it is enough to make a gesture with your hand, give your face the right expression - and the interlocutor understands what the partner wanted to say. Thus, the extralinguistic situation becomes an integral part of communication. Without knowledge of this situation, the meaning of the statement may be incomprehensible. Gestures and facial expressions also play an important role in colloquial speech.

Spoken speech is uncodified speech, the norms and rules of its functioning are not fixed in various dictionaries and grammars. She is not so strict in observing the norms of the literary language. It actively uses forms that qualify in dictionaries as colloquial. “Litter does not discredit them,” writes the well-known linguist MP Panov. he is lanky and at times grumpy. In official papers, do not use the words look, relish, go home, penny. Isn't it sound advice?"

In this regard, colloquial speech is opposed to codified book speech. Conversational speech, like book speech, has oral and written forms. For example, a geologist is writing an article for a special journal about mineral deposits in Siberia. He uses book speech in writing. The scientist makes a presentation on this topic at an international conference. His speech is bookish, but the form is oral. After the conference, he writes a letter to a work colleague about his impressions. The text of the letter - colloquial speech, written form.

At home, in the family circle, the geologist tells how he spoke at the conference, which old friends he met, what they talked about, what gifts he brought. His speech is colloquial, its form is oral.

Active study of colloquial speech began in the 60s. XX century. They began to analyze tape and manual recordings of natural natural speech. Scientists have identified specific linguistic features of colloquial speech in phonetics, morphology, syntax, word formation, and vocabulary. For example, in the field of vocabulary, colloquial speech is characterized by a system of its own methods of nomination (naming): various types of contraction (evening - evening newspaper, motor - motor boat, to enter - to an educational institution); ambiguous phrases (Is there anything to write about? - a pencil, a pen, Give me something to hide - a blanket, a blanket, a sheet); one-word derivatives with a transparent internal form (opener - can opener, rattle - motorcycle), etc. Spoken words are highly expressive (porridge, okroshka - about confusion, jelly, slur - about a sluggish, spineless person).

Linguistic and stylistic feature of artistic style is called the special life of the word in thin work. His specific. feature is the update internal form (G.O. Vinokur) when the means of language (in particular, lexical ones) and their meanings turn out to be the basis, starting from which the artist creates a poetic word-metaphor, completely turned to the theme and idea of a particular artist. works. At the same time, the metaphorical meaning of a word can often be understood and determined only after reading the entire work, i.e. stems from art. whole.

The formation of the value of the artist. words in the broad context of the whole work noted B.A. Larin, which revealed the systemic relationship of the word with other words of the artist. whole when expressing a cross-cutting poetic thought-idea, i.e. the leitmotif of the work is such a property of the poetic word of B.A. Larin named "combinatorial increments of meaning".

Concepts of the inner form of the artist. words and combinatorial increments of meaning are closely related to the concept "general imagery" (A.M. Peshkovsky), which is that everything language units one or another artwork are aimed at expressing the artistic image, being at the same time strictly aesthetically and stylistically motivated and justified, and therefore the elimination of any one word from the text already leads to the “baldness” of the image. The same applies to the modification of the forms of the word - so it is impossible to change the word small fish on the fish in the title and text of Pushkin's "Tales of the Fisherman and the Fish".

According to V.V. Vinogradov, artist the word is fundamentally two-dimensional: coinciding in its form with the word national language and based on its meaning, artist. the word is addressed not only to the national language, but also to that world of art. reality, which is created or recreated in the work. The semantic structure of the word "is expanded and enriched by those artistic and visual "increments" that develop in the system of a whole aesthetic object" (Vinogradov V.V.). A more general, precise concept is artistic and figurative speech concretization(M.N. Kozhina).

So, as a main style trait called ARTISTIC-FIGULATORY SPEECH SPECIFICATION, which is expressed by the system organization artistic speech capable of translating a word-concept into a word-image through a system of linguistic means combined author's image and capable of activating the reader's imagination. The linguistic means used in artistic texts are intended to serve mainly as an expression of the system of images, since in an artistic context words express not just concepts, ideas, but artistic images. Therefore, concretization here has a different character, means and ways of expression (not a word-concept or a word-representation is used, but a word-artistic image).

Artistic a work is capable of transforming the semantics of any word, including a neutral one, endowing it with textual increments of meaning, primarily emotionally expressive and aesthetic ones, which is achieved, in particular, by repeating a lexical unit in different contexts. This is connected with the manifestation of such an important feature of the semantics of the artist. works like dynamic meaning(Vinogradov V.V.). Multiple predication of a repeating nomination leads to the attachment of each new feature to the previous ones and the formation of a more complex textual meaning compared to the linguistic one. This phenomenon is typical and of great significance, so some researchers even propose to single out a special type lexical meaning – "artistic value"(Barlas L.G.). A word with artistic meaning is an element of the text, significant for deeper semantic layers of the artist. text - figurative and ideological (Kupina N.A.). A specific feature of the functioning of linguistic means in art. style is also the predominance of the meaning of the word over its meaning, which leads to the creation of an implicit ideological and aesthetic content of the work (subtext) that requires special interpretation.

Style fiction

Art style- functional style of speech, which is used in fiction. In this style, 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 figurativeness, emotionality of speech.

In a work of art, the word not only carries certain information, but also serves to aesthetically influence the reader with the help of artistic images. The brighter and more truthful the image, the stronger it affects the reader.

In their works, writers use, when necessary, not only words and forms of the literary language, but also obsolete dialect and vernacular words.

Facilities artistic expressiveness varied and numerous. These are tropes: comparisons, personifications, allegory, metaphor, metonymy, synecdoche, etc. And stylistic figures: epithet, hyperbole, litote, anaphora, epiphora, gradation, parallelism, rhetorical question, default, etc.

Fiction is characterized by a concrete-figurative representation of life, in contrast to the abstract, objective, logical-conceptual reflection of reality in scientific speech. A work of art is characterized by perception through the senses and the re-creation of reality, the author seeks to convey, first of all, his personal experience, their understanding or comprehension of this or that phenomenon. But in artistic 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. This is associated with emotionality and expressiveness, metaphorical, meaningful diversity of the artistic style of speech.

The basis of the artistic style of speech is the literary Russian language. word in it functional style performs a nominative-pictorial function. The words that form the basis of this style primarily include figurative means of the Russian literary language, as well as words that realize their meaning in the context. These are words with a wide range of uses. Highly specialized words are used to a small extent, only to create artistic authenticity in describing certain aspects of life.

In the artistic style of speech, the speech polysemy of the word is widely used, which opens up additional meanings and semantic shades in it, as well as synonymy at all language levels, which makes it possible to emphasize the subtlest shades of meanings. This is explained by the fact that the author strives to use all the richness 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 figurative means from colloquial speech and vernacular.

The emotionality and expressiveness of the image comes to the fore in the artistic text. Many words that in scientific speech act as clearly defined abstract concepts, in newspaper and journalistic speech - as socially generalized concepts, in artistic speech carry concrete sensory representations. Thus, the styles functionally complement each other. For example, the adjective lead in scientific speech realizes its direct meaning(lead ore, lead bullet), and in fiction it forms an expressive metaphor (lead clouds, lead noz, lead waves). Therefore, in artistic speech, phrases play an important role, which create a certain figurative representation.

Artistic speech, especially poetic speech, is characterized by inversion, i.e. changing 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 A. Akhmatova's poem "Everything I see is hilly Pavlovsk ..." Variants of the author's word order are diverse, subject to a common plan. But all these deviations in the text serve the law of artistic necessity.

6. Aristotle on six qualities of "good speech"

The term "rhetoric" (Greek Retorike), "oratory" (Latin orator, orare - to speak), "vitia" (obsolete, Old Slavonic), "eloquence" (Russian) are synonymous.

Rhetoric - a special science of the laws of "invention, arrangement and expression of thoughts in speech." Its modern interpretation is the theory of persuasive communication.

Aristotle defined rhetoric as the ability to find possible beliefs about any given subject, as the art of persuasion, which uses the possible and probable in cases where real certainty is insufficient. The business of rhetoric is not to convince, but in each given case to find ways of persuasion.

Oratory is understood as a high degree of skill public speaking, quality characteristic oratory, skillful use of the word.

Eloquence in the dictionary of the living Great Russian language by V. Dahl is defined as eloquence, science and the ability to speak and write beautifully, convincingly and captivatingly.

Corax, who in the fifth century BC. opened a school of eloquence in Syrocusa and wrote the first textbook of rhetoric, defined eloquence as follows: eloquence is the servant of persuasion. Comparing the above concepts “rhetoric”, “oratory”, “eloquence”, we find that they are united by the idea of persuasion.

Aesthetics and self-expression of the speaker in oratory, the ability and ability to speak fascinatingly inherent in eloquence, as well as scientific laws rhetoric they all serve the same purpose - to convince. And these three concepts of "rhetoric", "oratory" and "eloquence" differ in different accents that emphasize their content.

Oratory emphasizes the aesthetics, self-expression of the author, in eloquence - the ability and ability to speak in a fascinating way, and in rhetoric - the scientific nature of principles and laws.

Rhetoric as a science and academic discipline has existed for thousands of years. AT different time included different content. It was considered both as a special genre of literature, and as a mastery of any kind of speech (oral and written), and as a science and art of oral speech.

Rhetoric, as the art of speaking well, needed an aesthetic assimilation of the world, an idea of the elegant and the clumsy, the beautiful and the ugly, the beautiful and the ugly. The origins of rhetoric were an actor, a dancer, a singer who delighted and convinced people with their art.

At the same time, rhetoric was based on rational knowledge, on the difference between the real and the unreal, the real from the imaginary, the true from the false. A logician, a philosopher, a scientist participated in the creation of rhetoric. In the very formation of rhetoric, there was also a third principle; it united both types of knowledge: aesthetic and scientific. Ethics was such a beginning.

So the rhetoric was triune. It was the art of persuading with the word, the science of the art of persuading with the word, and the process of persuasion based on moral principles.

Even in antiquity, two main trends developed in rhetoric. The first, coming from Aristotle, connected rhetoric with logic and suggested that persuasive, effective speech be considered good speech. At the same time, efficiency also came down to persuasiveness, the ability of speech to win recognition (consent, sympathy, sympathy) of listeners, to make them act in a certain way. Aristotle defined rhetoric as "the ability to find possible ways beliefs about any given subject.

The second direction also arose in Dr. Greece. Among its founders are m Socrates and other rhetors. Its representatives were inclined to consider richly decorated, magnificent speech, built according to aesthetic canons, to be good. Persuasiveness continued to matter, but was not the only and not the main criterion for evaluating speech. Therefore, the direction in rhetoric, originating from Aristotle, can be called "logical", and from Socrates - literary.

The doctrine of the culture of speech originated in Ancient Greece within the framework of rhetoric as a doctrine of the merits and demerits of speech. In rhetorical treatises, prescriptions were given for what speech should be and what should be avoided in it. These papers provided guidance on how to correctness, purity, clarity, accuracy, consistency and expressiveness of speech, as well as advice on how to achieve this. In addition, even Aristotle urged not to forget about the addressee of the speech: "Speech consists of three elements: the speaker himself, the subject he speaks about, and the person to whom he refers and which is, in fact, the ultimate goal of everything." Thus, Aristotle and other rhetoricians drew the attention of readers to the fact that rhetorical heights, the art of speech can be achieved only on the basis of mastering the basics of speech skill.

Artistic style - concept, types of speech, genres

All researchers talk about the special position of the style of fiction in the system of styles of the Russian language. But its selection in this common system perhaps, because it arises on the same basis as other styles.

The scope of the style of fiction is art.

The “material” of fiction is the national 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 verbal art, in the system of rules and techniques for creating artistic images.

The form of speech is predominantly written, for texts intended to be read aloud, prior recording is required.

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

Type of communication - public.

Genres of fiction known isnovel, short story, sonnet, short 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 the whole variety of linguistic means that exist in the language (we have already talked about them): means of artistic expression, and both means of the literary language and phenomena that stand outside the literary language can be used - dialects, jargon, means of other styles and etc. At the same time, the selection of language means is subject to the artistic intention of the author.

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

(The one that, having sipped passion, only swallowed silt - M. Tsvetaeva).

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

(cf .: S. Yesenin's poem “Shagane you are mine, Shagane”).

The artistic means of literature are characterized by the ability to “increase meaning” (for example, with information), which makes it possible different interpretations literary texts, its various assessments.

So, for example, many works of art were evaluated differently by critics and readers:

drama by A.N. Ostrovsky called “Thunderstorm” “a ray of light in a dark kingdom”, seeing in her main character a symbol of the revival of Russian life;
his contemporary saw in The Thunderstorm only "a drama in the family chicken coop",
modern researchers A. Genis and P. Weil, comparing the image of Katerina with the image of Emma Bovary Flaubert, saw a lot in common and called The Thunderstorm "a tragedy of bourgeois life."

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

The literary text has author's originality - the style of the author. This is this characteristics the language of the works of one author, consisting in the choice of heroes, compositional features text, language of characters, speech features the original text.

So, for example, for the style of L.N. Tolstoy is characterized by a technique that the famous literary critic V. Shklovsky called “removal”. The purpose of this technique is to return the reader to a living perception of reality and expose evil. This technique, for example, is used by the writer in the scene of Natasha Rostova’s visit to the 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 scenery, aging actors), then, after meeting Helen, Natasha looks at the scene through her eyes.

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

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

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