Linguistic means of artistic style. Features of the style of fiction

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

Literary scholars 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. We should not forget that when we consider the artistic style of speech, we are talking at the intersection of literary criticism and linguistics. It should be noted that the norms literary language- this is just a kind of starting point for qualitatively different language norms.

Features of artistic style of speech

This style of speech can include colloquial, colloquial, clerical, and many other styles. Every writer's language obeys only those laws that the author himself creates. Many linguists note that in recent decades the literary language has gradually removed restrictions - it has become open to dialects, jargon, and 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: main features

The first sign of the described style is the original presentation of the word: it seems to be torn out of its schematic connections and placed in “unusual circumstances.” Thus, 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 consists in dividing the text into chapters and parts; in a dramatic work - on acts, scenes, phenomena. The most complex level of linguistic organization in poetic speech seems to be metrication, 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 literary prose, as a rule, ordinary human speech comes to the fore, which is one of the means of characterizing 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.

Language of the work of art

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

Influences the imagination and feelings of the reader, conveys the thoughts and feelings of the author, uses all the wealth of vocabulary, possibilities different styles, characterized by imagery, emotionality, and concreteness of speech.

The emotionality of an artistic style differs significantly from the emotionality of colloquial and journalistic styles. The emotionality of artistic speech performs an aesthetic function. Artistic style presupposes a preliminary selection of linguistic means; everything is used to create images language means.

The artistic style is realized in the form of drama, prose and poetry, which are divided into corresponding genres (for example: tragedy, comedy, drama and other dramatic genres; novel, short story, story and other prose genres; poem, fable, poem, romance and other poetic genres ).

A distinctive feature of the artistic style of speech can be called the use of special figures of speech, the so-called artistic tropes, which add color to the narrative and the power of depicting reality.

The artistic style is individually variable, so many philologists deny its existence. But one cannot fail to take into account that the individual authorial features of the speech of a particular writer arise against the background common features artistic style.

In artistic style, everything is subordinated to the goal of creating an image in the perception of the text by readers. This goal is served not only by the writer’s use of the most necessary, most precise words, due to which the artistic style is characterized by the highest index of vocabulary diversity, not only by the widespread use of the expressive capabilities of language ( figurative meanings words, updating of metaphors, phraseological units, comparison, personification, etc.), but also a special selection of any figuratively significant elements of the language: phonemes and letters, grammatical forms, syntactic structures. They create background impressions and a certain imaginative mood in readers.

Artistic style finds application in fiction, which performs a figurative-cognitive and ideological-aesthetic function.

Typical for an artistic style of speech attention to the particular and random, followed by the typical and general. Remember “Dead Souls” by N.V. Gogol, where each of the shown landowners personified certain specific human qualities, expressed a certain type, and all together they were the “face” of the author’s contemporary Russia.

The world of fiction - this is a “recreated” world, the depicted reality is to a certain extent the author’s fiction, and therefore in the artistic style of speech the most important role plays a subjective moment. The entire surrounding reality is presented through the author's vision. 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, etc. This is associated with emotionality and expressiveness, metaphor, and meaningful diversity of the artistic style of speech.

The basis of the artistic style of speech is the literary Russian language. The word performs a nominative-figurative function.

The lexical composition in the artistic style of speech has its own characteristics. The number of words that form the basis and create the imagery of this style includes 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 usage. Highly specialized words are used to a small extent, only to create artistic authenticity when describing certain aspects of life.

It is very widely used in the artistic style of speech the speech polysemy of a word, revealing its meanings and shades of meaning, as well as synonymy at all linguistic levels, thanks to which it becomes possible to emphasize the subtlest shades of meaning. This is explained by the fact that the author strives to use all the riches of the language, to create his own unique language and style, to create 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.

For artistic speech, especially poetic, it is characterized by inversion, i.e. changing the usual order of words in a sentence in order to enhance the semantic significance of the word or give the entire phrase a special stylistic coloring.

Syntactic structure of literary speech reflects the flow of the author’s figurative and emotional impressions, so here you can find a whole variety of syntactic structures. Each author subordinates linguistic means to the fulfillment of his ideological and aesthetic tasks.

In artistic speech it is possible and deviations from structural norms in order for the author to highlight some thought or feature that is important for the meaning of the work. They can be expressed in violation of phonetic, lexical, morphological and other norms.

The artistic style of speech as a functional style is used in fiction, which performs a figurative-cognitive and ideological-aesthetic function. To understand the features of the artistic way of knowing reality, thinking, which determines the specifics of artistic speech, it is necessary to compare it with the scientific way of knowing, which determines characteristic features scientific speech.

Fiction, like other types of art, is characterized by a concrete figurative representation of life, in contrast to the abstract, logical-conceptual, objective 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 strives to convey, first of all, his personal experience, your understanding and comprehension of a particular phenomenon.

The artistic style of speech is characterized by attention to the particular and random, followed by the typical and general. Remember the well-known “Dead Souls” by N.V. Gogol, where each of the shown landowners personifies certain specific human qualities, expresses a certain type, and all together they were the “face” of the author’s contemporary Russia.

The world of fiction is a “recreated” world; the reality depicted is, to a certain extent, the author’s fiction, which means that in the artistic style of speech the most important role is played by the subjective element. The entire surrounding reality is presented through the author's vision. But in a literary text we see not only the world of the writer, but also the writer in this world: his preferences, condemnation, admiration, rejection, etc. Associated with this is the emotionality and expressiveness, metaphor, and meaningful diversity of the artistic style of speech. Let’s analyze a short excerpt from L. N. Tolstoy’s story “A Foreigner Without Food”:

“Lera went to the exhibition only for the sake of her student, out of a sense of duty. "Alina Kruger. Personal exhibition. Life is like loss. Free admission". A bearded man and a lady were wandering in an empty hall. He looked at some of the work through a hole in his fist; he felt like a professional. Lera also looked through her fist, but did not notice the difference: all the same naked men on chicken legs, and in the background there were pagodas on fire. The booklet about Alina said: “The artist projects a parable world onto the space of the infinite.” I wonder where and how they teach how to write art criticism texts? They're probably born with it. When visiting, Lera loved to leaf through art albums and, after looking at a reproduction, read what a specialist wrote about it. You see: a boy covered an insect with a net, on the sides there are angels blowing pioneer horns, in the sky there is a plane with the signs of the Zodiac on board. You read: “The artist views the canvas as a cult of the moment, where the stubbornness of details interacts with an attempt to comprehend everyday life.” You think: the author of the text spends little time outdoors, relies on coffee and cigarettes, his intimate life is somehow complicated.”

What we have before us is not an objective presentation of the exhibition, but a subjective description of the heroine of the story, behind whom the author is clearly visible. The story is built on the combination of three artistic plans. The first plan is what Lera sees in the paintings, the second is an art history text interpreting the content of the paintings. These plans are expressed stylistically in different ways; the bookishness and abstruseness of the descriptions are deliberately emphasized. And the third plan is the author’s irony, which manifests itself through showing the discrepancy between the content of the paintings and the verbal expression of this content, in the assessment of the bearded man, the author of the book text, and the ability to write such art criticism texts.

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, constitute 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-figurative function. Here is the beginning of V. Larin’s novel “Neuronal Shock”:

“Marat’s father Stepan Porfiryevich Fateev, an orphan from infancy, was from a family of Astrakhan binders. The revolutionary whirlwind blew him out of the locomotive vestibule, dragged him through the Mikhelson plant in Moscow, machine gun courses in Petrograd and threw him into Novgorod-Seversky, a town of deceptive silence and bliss.”

In these two sentences, the author showed not only a segment of individual human life, but also the atmosphere of the era of enormous changes associated with the revolution of 1917. The first sentence gives knowledge of the social environment, material conditions, human relations in the childhood years of the life of the father of the hero of the novel and his own roots. The simple, rude people who surrounded the boy (a bindyuzhnik is the colloquial name for a port loader), the hard work that he saw from childhood, the restlessness of orphanhood - this is what stands behind this proposal. And the next sentence includes private life in the cycle of history. Metaphorical phrases the revolutionary whirlwind blew..., dragged..., threw... they liken human life to a certain 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 in-depth information is impossible.

The lexical composition and functioning of words in the artistic style of speech have their own characteristics. The number of words that form the basis and create the imagery of this style primarily includes 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 usage. Highly specialized words are used to a small extent, only to create artistic authenticity when describing certain aspects of life. For example, L.N. Tolstoy in War and Peace used special military vocabulary when describing battle scenes; We will find a significant number of words from the hunting vocabulary in “Notes of a Hunter” by I.S. Turgenev, in the stories of M.M. Prishvina, V.A. Astafiev, and in “The Queen of Spades” A.S. Pushkin has many words from the vocabulary of card games, etc. In the artistic style of speech, the verbal polysemy of the word is very widely used, which opens up additional meanings and shades of meaning, as well as synonymy at all linguistic levels, making it possible to emphasize the subtlest shades of meaning. This is explained by the fact that the author strives to use all the riches of the language, to create his own unique language and style, to create 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. Let us give an example of the use of such a technique by B. Okudzhava in “The Adventures of Shipov”:

“In Evdokimov’s tavern they were about to turn off the lamps when the scandal began. The scandal started like this. At first everything in the hall looked fine, and even the tavern floorman, Potap, told the owner that today God had mercy - not a single broken bottle, when suddenly in the depths, in the semi-darkness, in the very core, there was a buzz like a swarm of bees.

“Fathers of light,” the owner lazily marveled, “here, Potapka, is your evil eye, damn it!” Well, you should have croaked, damn it!”

The emotionality and expressiveness of the image come to the fore in a literary text. Many words, which in scientific speech act as clearly defined abstract concepts, in newspaper and journalistic speech - as socially generalized concepts, in artistic speech carry concrete sensory ideas. Thus, the styles functionally complement each other. For example, adjective lead in scientific speech realizes its direct meaning ( lead ore, lead bullet), and the artistic one forms an expressive metaphor ( lead clouds, lead night, lead waves). Therefore, in artistic speech an important role is played by phrases that create a kind of 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 give the entire phrase a special stylistic coloring. An example of inversion is the famous line from A. Akhmatova’s poem “I still see Pavlovsk as hilly...”. The author's word order options are varied and subordinate to the general concept.

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

“In Mila’s story, then everything went downhill, Mila’s husband in a new two-room apartment now he no longer protected Mila from her mother, her mother lived separately, and there was no telephone either here or here - Mila’s husband became his own Iago and Othello and watched with mockery from around the corner as men accosted Mila on the street his type, builders, miners, poets, who do not know how heavy this burden is, how unbearable life is if you fight alone, since beauty is not an assistant in life, this is how one could roughly translate those obscene, desperate monologues that a former agronomist, and now a researcher, Mila’s husband, shouted both on the streets at night, and in his apartment, and got drunk, so Mila hid with her young daughter somewhere, found shelter for herself, and the unfortunate husband beat furniture and threw iron pans.”

This sentence is perceived as an endless complaint of countless unhappy women, as a continuation of the theme of the sad female lot.

In artistic speech, deviations from structural norms are also possible, due to artistic actualization, i.e. the author highlighting 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 bright, expressive artistic image. Let's consider an example from the work of B. Okudzhava “The Adventures of Shipov”:

“Oh, dear,” Shipov shook his head, “why do you do this? No need. I see right through you, mon cher... Hey, Potapka, why did you forget the man on the street? Lead here, waking up. Well, Mr. Student, how do you rent out this tavern? It's dirty. Do you think I like it?... I’ve been to real restaurants, sir, I know... Pure empire... But you can’t talk to people there, but here I can learn something.”

The speech of the main character characterizes him very clearly: not very educated, but ambitious, wanting to give the impression of a gentleman, master, Shipov uses elementary French words (mon cher) along with colloquial waking up, waking up, here, which do not correspond not only to the literary, but also to the colloquial form. But all these deviations in the text serve the law of artistic necessity.

INTRODUCTION

The study of the stylistic stratification of the Russian language is carried out by a special science - stylistics, which studies various questions concerning the rules and features of the purposeful use of various words and forms of the national language in various kinds of statements and speech. Its appearance is quite natural, since defining the boundaries of a particular functional style and its features has always seemed very important for linguistic science, since the definition of the rules and laws of a language has always gone hand in hand with the definition of norms for the use of certain elements of language in specific speech contexts. According to linguists, normative grammar and stylistics, lexicology, lexicography and stylistics have long been and are firmly connected.

Among the works of Russian linguists, studies and articles on issues of Russian stylistics occupy a prominent place. Here we can highlight such important works as articles by academician L.V. Shcherba (especially “Modern Russian Literary Language”), and numerous large and small studies, monographs and articles by Academician V.V. Vinogradova. Also interesting are various studies and articles by A.M. Peshkovsky, G.O. Vinokura, L.A. Bulakhovsky, B.V. Tomashevsky, V.A. Goffman, B.A. Larina et al. These studies were the first to theoretical basis Questions were raised about the separation of artistic style into a separate category, about its specificity and peculiarities of existence.

However, linguists have still not found agreement and unity in understanding the essence of the “language” of fiction and its place in the system of styles literary speech. Some put the “style of fiction” in parallel with other stylistic varieties of literary speech (with the scientific, journalistic, official business style, etc.), on a par with them (A.N. Gvozdev, R.A. Budagov, A.I. Efimov, E. Riesel, etc.), others consider it 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, at the same time seems to be its concentrated expression. Therefore, the concept of “style” when 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.

Functional style is a historically established and socially conscious variety of a literary language (its subsystem), functioning in a certain area 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 use of the language, the subject matter determined by it and the goals of communication. The areas of application of language correlate with types of human activity corresponding to forms of social consciousness (science, law, politics, art). Traditional and socially significant areas of activity are: scientific, business (administrative and legal), socio-political, artistic. Accordingly, they also distinguish between 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 isolation 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 visual and expressive means to convey a special property - imagery.

Thus, in linguistics the specificity of 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 study is the process of functioning of this style in the Russian literary language.

The subject is specific linguistic means of artistic style.

Consider general concept"speech style";

Identify the distinctive features of the artistic style of speech;

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

The practical significance of our work lies in the fact that the material presented in it can be used both in studying the general course of stylistics of the Russian language, and in studying 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. That's why styles are called functional. If we assume that style has five functions (there is no consensus among scientists about the number of functions inherent in language), then five functional styles are distinguished: colloquial, scientific, official business, newspaper journalistic, and artistic.

Functional styles determine the stylistic flexibility of language, diverse possibilities of expression, and variation of thought. Thanks to them, language is able to express complex scientific thought, philosophical wisdom, outline laws, and reflect the multifaceted life of the people in an 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 one or another manner of presentation - accurate, objective, concretely pictorial, informative and business, etc. And according to 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. Thus, scientific speech needs precise and strict concepts, business speech gravitates towards generalized names, artistic speech prefers concreteness and figurativeness.

However, style is not only a method, a manner of presentation. Each style has its own range of topics and its own content. Conversational style limited, as a rule, to everyday, everyday subjects. Official business speech serves the court, law, diplomacy, relations between enterprises, etc. Newspaper and journalistic speech is closely related to politics, propaganda, and public opinion. So, we can distinguish three features of the functional style:

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

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

3) each functional style has a general 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. Thus, the abundance of terms and special vocabulary characterizes the scientific style to the greatest extent. Colloquial words and expressions indicate that we have colloquial speech, a colloquial everyday style. Artistic speech is replete with figurative, emotional words, while newspaper and journalistic speech is replete with socio-political terms. This does not mean, of course, that the functional style consists entirely of characteristic words specific to 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, inter-style words, against which the characteristic vocabulary and phraseology stand out. Interstyle vocabulary is the guardian of the unity of the literary language. Being general literary, it unites functional styles, preventing them from turning into special, difficult to understand languages. Characteristic words constitute the linguistic specificity of the style. They are the ones who determine its linguistic appearance.

Grammatical means are also common to all functional styles. The grammar of the language is the same. 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. Thus, for the official business style, which is based on everything personal, vaguely personal, reflexive constructions, passive phrases 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: anaphors, epiphoras, parallelisms. However, in relation to vocabulary, and especially in relation to grammar, we are not talking about absolute, but about relative assignment to one or another style. Words and grammatical structures characteristic of a particular functional style can be used in another style.

In linguistic terms, 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 scientific and official business styles. However, elements of imagery and emotionality are possible in some genres of diplomacy and in polemical scientific writings. Even some terms are figurative. For example, a strange particle in physics is called that because it really behaves unusually, strangely.

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

Thus, each functional style is a special influential sphere of 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 language in miniature: 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, lightness, and ease into the literary language. Scientific speech enriches the language with precision and rigor of expression, journalism - with emotionality, aphorism, artistic speech - with imagery.

Characteristics of the artistic style

artistic speech stylistics Russian

The specificity of the artistic style of speech, as a functional one, lies in the fact that it is used in fiction, which performs a figurative-cognitive and ideological-aesthetic function. Unlike, for example, the abstract, objective, logical-conceptual reflection of reality in scientific speech, fiction is characterized by a concrete figurative representation of life. A work of art is characterized by perception through the senses and re-creation of reality; the author strives, first of all, to convey his personal experience, his understanding or comprehension of a particular 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. This is associated with emotionality and expressiveness, metaphor, and meaningful diversity of the artistic style of speech.

The main goal of artistic style is to master the world according to the laws of beauty, satisfy the aesthetic needs of both the author of a work of art and the reader, and have an 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-figurative function. The number of words that form the basis of this style, first of all, includes 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 usage. Highly specialized words are used to a small extent, only to create artistic authenticity 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, but these means (which is very important) appear here in a modified function - in an aesthetic one. In addition, in artistic speech not only strictly literary, but also extra-literary means of language can be used - colloquial, slang, dialect, etc., which are also not used in the primary function, but are subordinate to an aesthetic task.

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

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

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

We can say that in artistic style all linguistic means, including neutral ones, are used to express the poetic thought of the author, 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 closure; it is open to any styles, any lexical layers, any linguistic means. This openness determines the diversity of the language of fiction.

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

It influences the reader’s imagination and feelings, conveys the author’s thoughts and feelings, uses all the richness of vocabulary, the possibilities of different styles, and is characterized by imagery, emotionality, and specificity of speech. The emotionality of an artistic style differs significantly from the emotionality of a colloquial 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, but the characters' speech may also contain other styles, such as colloquial.

The language of fiction is a kind of mirror of literary language. Rich literature means rich literary language. 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 pinnacle achievement of language. In it, the capabilities of the national language are presented in the most complete and pure development.

CHAPTER...TO THE QUESTION OF DISTINGUISHING AN ARTISTIC STYLE

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

The field 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, and their communication. Each word in an artistic text is subject not only to the rules of linguistics, it lives according to the laws of verbal art, in a 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 reciprocal feelings in him.

The addressee of fiction is the reader.

The goal setting of the style is the artist’s self-expression, artistic understanding of the world through the means of art.

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

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

Fiction also uses all types of speech: monologue, dialogue, polylogue. Type of communication – public.

The genres of fiction are known - these are novels, stories, sonnets, short stories, fables, poems, comedies, tragedies, dramas, etc.

Features hood st

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 literary text is a means of creating an image and conveying the artistic meaning of the work.

Literary texts use the entire variety of linguistic means existing in the language (we have already talked about them): means artistic expression, stylistic or rhetorical figures, and can be used both as means of literary language, as well as phenomena outside the literary language -

dialects, definition

jargon, definition

swear words,

means of other styles, etc.

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

For example, the character's surname can be 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 the word, homonym definition

Definition of synonyms and 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 impact, in artistic speech it can form the basis of the composition of the text and create the artistic world of the author.

The artistic means of literature are characterized by the ability to “increase meaning,” which makes it possible different interpretations artistic texts, its various assessments. For example, critics and readers assessed many works of art differently:

Drama A.N. N. Dobrolyubov called Ostrovsky’s “The Thunderstorm” a “ray of light in a dark kingdom,” seeing in its main character a symbol of the revival of Russian life. His contemporary D. Pisarev saw in “The Thunderstorm” only a drama in a family chicken coop; modern researchers A. Genis and P. Vail, comparing the image of Katerina with the image of Flaubert’s Emma Bovary, saw many similarities and called “The Thunderstorm” “the tragedy of bourgeois life.” There are many such examples: interpretation of the image of Shakespeare’s Hamlet, Turgenev’s Bazarov, Dostoevsky’s heroes. An example of the same from Shakespeare is required

A literary text has its own originality - the author's style. The author's style 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 heroes, and the speech features of the author's text itself. So, for example, the style of L.N. Tolstoy is characterized by a technique that the famous literary critic V. Shklovsky called “detachment.” The purpose of this technique is to return the reader to a vivid 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’s, feelings, then, after meeting Helen Natasha looks at the stage 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 rows homogeneous members offers. At the same time, such dismemberment is subordinated to a single idea. Tolstoy, fighting against the romantics, developed his own style and practically abandoned the use of figurative means of language.

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

The image of the author 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 characters, enters into the plot of the work, expresses his attitude to what is happening, the characters, comments on the action, and enters into dialogue with the reader. An author's or lyrical digression is a reflection of the author (lyrical hero, narrator), not related to the main narrative. You are well familiar with the novel by M.Yu. Lermontov “Hero of Our Time”, a novel in verse by A.S. Pushkin’s “Eugene Onegin”, where the image of the author is a striking 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.

Initial stage 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 wonderful 20th century philologist Yu. M, Lotman).

The concept of “language of a work of art” includes the entire set artistic means which the author uses: polysemy of words, homonyms, synonyms, antonyms, archaisms, historicisms, neologisms, foreign vocabulary, idioms, catchwords.

CONCLUSION

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) believe that there is no reason for this. The following are given as arguments against distinguishing the style of fiction:

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

2) it is multi-styled, open-ended, and does not have specific features 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. is very legitimate. Kozhina that “extending artistic speech beyond functional styles impoverishes our understanding of the functions of language. If we remove artistic speech from the list of functional styles, but assume that literary language exists in many 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 because of this, neither the literary language ceases to be such when it enters a work of art, 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 to master the world according to the laws of beauty, satisfy the aesthetic needs of both the author of a work of art and the reader, and have an aesthetic impact on the reader with the help of artistic images.

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

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

The features of the language of fiction as a whole are determined by several factors. It is characterized by broad metaphoricality, imagery of linguistic units of almost all levels, the use of synonyms of all types, polysemy, and different stylistic layers of vocabulary is observed. The artistic style (compared to other functional styles) has its own laws of word perception. The meaning of a word is largely determined by the author’s goal setting, genre and compositional features of the work of art of which this word is an element: firstly, in the context of a given literary work it can acquire artistic ambiguity not recorded in dictionaries; 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 impact through it on the addressee. Writers in their works proceed, first of all, from accurately conveying thoughts and feelings, truthfully revealing the spiritual world of the hero, and realistically recreating language and image. Not only the normative facts of language, but also deviations from general literary norms are subject to the author's intention and the desire for artistic truth.

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

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

1 Kozhina M.N. Stylistics of the Russian language. M., 1983. P.49.

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. A 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, the possibilities of different styles, and is characterized by imagery, emotionality, and specificity of speech. The emotionality of an artistic style differs significantly from the emotionality of colloquial and journalistic styles. The emotionality of artistic speech performs an aesthetic function. Artistic style presupposes a preliminary selection of linguistic means; All language means are used to create images. A distinctive feature of the artistic style of speech can be called the use of special figures of speech, the so-called artistic tropes, which add color to the narrative and the power of depicting reality. The function of the message is combined with the function of aesthetic impact, the presence of imagery, a combination of the most diverse means of language, both general linguistic and individual author's, but the basis of this style is general literary language means. Characteristic features: the presence of homogeneous members of the sentence, complex sentences; epithets, comparisons, rich vocabulary.

Substyles and genres:

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

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

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

Style-forming features:

1) figurative reflection of reality;

2) artistic and figurative concretization of the author’s intention (system of artistic images);

3) emotionality;

4) expressiveness, evaluativeness;

6) speech characteristics of characters (speech portraits).

General linguistic features of literary and artistic style:

1) a combination of linguistic means of all other functional styles;

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

3) fulfillment of an aesthetic function by linguistic means.

Linguistic means of artistic style:

1. Lexical means:

1) rejection of stereotyped words and expressions;

2) widespread use of words in a figurative meaning;

3) deliberate clash of different styles of vocabulary;

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

5) the presence of emotionally charged words.

2. Phraseological means- conversational and bookish.

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, third-person forms;

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

5) shapes plural abstract and real nouns;

6) widespread use of adjectives and adverbs.

5. Syntactic means:

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

2) widespread use of stylistic figures.

8.Main features of conversational style.

Features of conversational style

Conversational style is a speech style that has the following characteristics:

used in conversations with familiar people in a relaxed atmosphere;

the task is to exchange impressions (communication);

the statement is usually relaxed, 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 linguistic means include: colloquial words and expressions, emotional and evaluative means, in particular with the suffixes - ochk-, - enk-. - ik-, - k-, - ovat-. - evat-, perfective verbs with the prefix for - with the meaning of the beginning of action, appeal;

incentive, interrogative, exclamatory sentences.

contrasts with book styles in general;

inherent function of communication;

forms a system that has its own characteristics in phonetics, phraseology, vocabulary, and syntax. For example: phraseology - escaping with the help of vodka and drugs is not fashionable these days. Vocabulary - a thrill, hugging a computer, getting on the Internet.

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

The topics of conversation are determined by the needs of communication. They can vary from narrow everyday ones to professional, industrial, moral and ethical, philosophical, etc.

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

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

The structure and content of conversational speech, the choice of verbal and non-verbal means of communication are greatly influenced by extralinguistic (extra-linguistic) factors: the personality of the addresser (speaker) and the addressee (listener), the degree of their acquaintance and proximity, background knowledge (the general stock of knowledge of the speakers), the speech situation (context of the utterance). For example, to the question “Well, how?” depending on the specific circumstances, the answers can be very different: “Five”, “Met”, “Got it”, “Lost”, “Unanimously”. Sometimes, instead of a verbal answer, it is enough to make a gesture with your hand, give your face the desired expression - and the interlocutor understands what your partner wanted to say. Thus, the extra-linguistic situation becomes an integral part of communication. Without knowledge of this situation, the meaning of the statement may be unclear. Gestures and facial expressions also play an important role in spoken language.

Colloquial speech is uncodified speech; the norms and rules of its functioning are not recorded in various kinds of dictionaries and grammars. She is not so strict in observing the norms of literary language. It actively uses forms that are classified in dictionaries as colloquial. “The litter does not discredit them,” writes the famous linguist M.P. Panov. “The litter warns: do not call a person with whom you are in strictly official relations a darling, do not offer to shove him somewhere, do not tell him that he is lanky and sometimes grumpy. In official papers, do not use the words look, to your heart's content, to your heart's content, penny wise, after all?

In this regard, colloquial speech is contrasted with codified book speech. Colloquial speech, like book speech, has oral and written forms. For example, a geologist writes an article for a special magazine about mineral deposits in Siberia. He uses bookish speech in writing. The scientist gives a report 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. Text of the letter - colloquial speech, written form.

At home, with his family, 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 conversational, its form is oral.

Active study of spoken language began in the 60s. XX century. They began to analyze tape and manual recordings of relaxed, natural oral 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 contractions (evening - evening newspaper, motor - powerboat, enroll in an educational institution); non-word combinations (Do you have something to write with? - pencil, pen, Give me something to cover myself with - blanket, rug, sheet); single-word derivative words with a transparent internal form (opener - can opener, rattle - motorcycle), etc. Colloquial words are highly expressive (porridge, okroshka - about confusion, jelly, sloppy - about a sluggish, spineless person).