What linguistic means are characteristic of art. Fiction style

Topic 10. Language features of the artistic style

Topic 10.LANGUAGE FEATURES OF THE ARTISTIC STYLE

A beautiful thought loses its price

if it is badly expressed.

Voltaire

Lesson plan:

Theoretical block

Trails. Types of trails.

stylistic figures. Types of stylistic figures.

Functional characteristics of language means of expression in artistic style.

Practice block

Identification of figurative and expressive means in the texts of the artistic style and their analysis

Functional characteristics of paths and figures

Compilation of texts using reference expressions

Tasks for SRO

Bibliography:

1.Golub I.B. Stylistics of the Russian language. - M., 1997. - 448 p.

2. Kozhin BUT.H., Krylova O.BUT., Odintsov AT.AT. Functional types of Russian speech. - M.: Higher School, 1982. - 392 p.

3.Lapteva, M. A. Russian language and culture of speech. - Krasnoyarsk: CPI KSTU, 2006. - 216 p.

4.Rosenthal D.E. Reference book on the Russian language. Practical stylistics of the Russian language. - M., 2001. - 381 p.

5.Khamidova L.V.,Shakhova L.BUT. Practical style and culture of speech. - Tambov: TSTU Publishing House, 2001. - 34 p.

THEORETICAL BLOCK

Linguistic features of the artistic style

The artistic style of speech is distinguished by figurativeness, expressiveness, and the widespread use of figurative and expressive means of the language. The means of artistic expression give brightness to speech, enhance its emotional impact, attract the attention of the reader and listener to the statement.

The means of expression in the artistic style are varied and numerous. Typically, researchers distinguish two groups of visual and expressive means: paths and stylistic figures.

THE MOST COMMON TYPES OF TRAILS

STYLISTIC FIGURES

PRACTICE BLOCK

Questions for discussion and consolidation :

What are the main features of the artistic style of speech?

What area does the artistic style of speech serve?

What means of artistic expression do you know?

What groups are the figurative and expressive means of the language divided into?

What are trails? Describe them.

What is the function of the trail in the text?

What stylistic figures do you know?

What is the purpose of stylistic figures in the text?

Describe the types of stylistic figures.

Exercise 1 . Establish a correspondence: find the corresponding definitions for the concepts below - paths (left column) (right column)

Exercise 2 . Find epithets in the sentences. Determine the form of their expression. What role do they play in the text? Make up your sentences using epithets.

1. On a heavenly blue dish of yellow clouds, honey smoke .... (S. E.). 2. Stands alone in the north wild ...(Lerm); 3. Around the whitening ponds, bushes in fluffy sheepskin coats ... (March.). 4. In the waves are rushing, thundering and sparkling.

Exercise 3 .

1. Asleep earth in blue radiance ... (Lerm.). 2. I had an early, still drowsy morning and deaf night. (Greene). 3. Appeared in the distance train head. 4. building wing obviously in need of repair. 4. Ship flies by the will of stormy waters ... (Lerm.). 5. Liquid, early breeze already went wandering and flutter over the earth ... (Turg.). 6. Silver smoke rose to a pure and precious sky ... (Paust.)

Exercise 4 . Find examples of metonymy in the sentences. What is the metonymic transfer of names based on? Make up your sentences using metonymy.

1. Preparing for the exam, Murat re-read Tolstoy. 2. The class enjoyed visiting the porcelain exhibition. 3. The whole city came out to meet the astronaut. 4. It was quiet outside, the house was asleep. 5. The audience listened to the speaker carefully. 6. Athletes brought gold and silver from the competition.

Exercise 5 . Determine the meaning of the highlighted words. What type of trail can they be classified as? Make up your sentences using the same type of trail.

1. Sundress for caftan doesn't run. (last). 2. All flags will visit us (P.). 3. Blue berets hurriedly landed on the beach. 4. Best beards countries gathered for a performance. (I. Ilf). 5. A woman in a hat was standing in front of me. Hat resented. 6. After some deliberation, we decided to catch motor.

Exercise 6. Find comparisons in sentences. Determine the form of their expression. Make up your sentences using comparisons of different forms of expression.

1. Large drops of dew blushed everywhere like radiant diamonds. (Turg.) 2. Her dress was the color of green. 3. Dawn blazed with fire .... (Turg.). 4. Light fell from under the cap with a wide cone ... (Bitov). 5. Words, like night hawks, break from hot lips. (B. Ok.). 6. The day rustles with a newspaper outside the door, runs as a late schoolboy. (Slutsk.). 7. Ice, like melting sugar, lies on a frozen river.

Exercise 7 . Read the sentences. Write them down. Give examples of impersonation

(1 option); hyperbolas ( Option 2); c) lithos ( 3 option). Justify your answer.

Silent sadness will be comforted, And joy will reflect friskyly ... ( P.).

Bloomers as wide as the Black Sea ... ( Gogol).

The autumn night burst into icy tears ... ( Fet).

And we haven’t seen each other for probably a hundred years ... ( Ruby).

The horse is being led by the bridle by a peasant in big boots, a sheepskin coat, and big mittens... and he with a fingernail! (Necr.).

Some houses are as long as the stars, others as long as the moon; sky high baobabs

(Lighthouse.).

Your Spitz is a lovely Spitz, no more than a thimble! ( Griboyedov).

Exercise 8. Read the text.

It was a beautiful July day, one of those days that only happens when the weather has settled for a long time. From early morning the sky is clear; the morning dawn does not burn with fire: it spreads with a gentle blush. The sun - not fiery, not hot, as during a sultry drought, not dull-purple, as before a storm, but bright and welcomingly radiant - peacefully rises under a narrow and long cloud, shines freshly and plunges into a purple fog. The upper, thin edge of the stretched cloud will sparkle with snakes; their brilliance is like that of hammered silver...

But here again the playful rays gushed, and the mighty luminary rises cheerfully and majestically, as if taking off. Around noon there usually appear many round high clouds, golden gray, with delicate white edges.

Like islands scattered along an endlessly overflowing river flowing around them with deeply transparent sleeves of even blue, they hardly budge; further, towards the sky, they shift, crowd, the blue between them can no longer be seen; but they themselves are as azure as the sky: they are all permeated through and through with light and warmth. The color of the sky, light, pale lilac, does not change all day and is the same all around; nowhere does it get dark, the thunderstorm does not thicken; except in some places bluish stripes stretch from top to bottom: then a barely noticeable rain is sown. By evening, these clouds disappear; the last of them, blackish and indefinite as smoke, fall in rosy puffs against the setting sun; in the place where it set as calmly as it calmly ascended into the sky, a scarlet radiance stands for a short time over the darkened earth, and, quietly blinking, like a carefully carried candle, the evening star will light up on it. On such days the colors are all softened; light, but not bright; everything bears the stamp of some touching meekness. On such days the heat is sometimes very strong, sometimes even "floating" over the slopes of the fields; but the wind disperses, pushes the accumulated heat, and whirlwinds-circles - an undoubted sign of constant weather - walk along the roads through the arable land in high white pillars. In dry and clean air it smells of wormwood, compressed rye, buckwheat; even an hour before night you don't feel damp. The farmer wants such weather for harvesting grain ... (I. Turgenev. Bezhin meadow.)

Write out unfamiliar words from the text, determine their meaning.

Define the style and type of text.

Divide the text into semantic parts. Formulate the main idea of ​​the text, its theme. Title the text.

What words carry a special meaning in the text?

Indicate the words of one thematic group.

Find definitions in the text. Are they all epithets?

What means of artistic expression did the author use in the text?

Write out examples of tropes from the text: epithets ( 1 option); comparisons( Option 2); metaphors. ( 3 option). Justify your choice.

Exercise 9. Read the texts about winter.

1. Winter is the coldest time of the year. ( With. Ozhegov).

2. Winter on the coast is not as bad as in the depths of the peninsula, and the mercury in the thermometer does not fall below forty-two, and the farther from the ocean, the stronger the frost - so the old-timers believe that forty-two below zero is something like September frosts on the grass. But near the water, the weather is more changeable: either a blizzard powders the eyes, people walk with a wall against the wind, then the frost grabs the living and, like a leprosy, whitens it, then you have to rub it with a cloth until it bleeds, that's why they say: "Three to the nose, everything will pass." ( B. Kryachko)

Hello, in a white sundress

From silver brocade!

Diamonds burn on you like bright rays.

Hello Russian girl,

Coloring soul.

white winch,

Hello winter winter! ( P. Vyazemsky)

4. Beautiful, wonderful Russian forest in winter. Deep, clean snowdrifts lie under the trees. Above the forest paths, lacy white arches bent under the weight of frost, the trunks of young birch trees. Dark green branches of tall and small firs are covered with heavy caps of white snow. You stand and admire their peaks, studded with necklaces of purple cones. You watch with delight how, whistling merrily, they fly from spruce to spruce, swaying on cones, flocks of red-breasted crossbills. ( I. Sokolov - Mikitov)

Determine the style, genre and purpose of each text.

Specify the main style features of each text.

What linguistic means are used in the texts about winter?

Exercise 10. Create your own freehand winter landscape sketch using at least ten (10) definitions selected from the words below. What function do they perform in the text? Whose text is the most successful and why?

White, first, fresh, withered, cool, frosty, unkind, snow-white, angry, harsh, bright, chilly, wonderful, clear, invigorating, prickly, hot, angry, creaky, crisp, blue, silvery, thoughtful, silent, gloomy, gloomy, huge, huge, predatory, hungry, fast, icy, frozen, warm, sparkling, clean.

Exercise 11. Compose a syncwine for the micro-theme "Tropes as figurative and expressive means of the Russian language":

1 option- the keyword "Incarnation";

Option 2- the keyword "Hyperbole";

3 option- the keyword "Litota";

4 option- keyword "allegory".

Exercise 12. Read the text. Divide the text into semantic parts. Title it.

The steppe, shackled by moonlight, was waiting for the morning. There was that pre-dawn silence, which has no name. And only a very sensitive ear, accustomed to this silence, would have heard the continuous rustle that had been coming from the steppe all night. Once something rang...

The first whitish ray of dawn broke through a distant cloud, the moon immediately faded, and the earth darkened. And then suddenly a caravan appeared. Camels walked up to their chests in the lush meadow grass, mixed with young reeds, one after another. To the right and left, herds of horses moved in a heavy mass that crushed the meadow, dived into the grass, and horsemen again emerged from it. From time to time the chain of camels was interrupted, and, connected to each other by a long woolen rope, high two-wheeled carts rolled in the grass. Then camels came again...

A distant cloud melted, and the sun suddenly rushed all at once into the steppe. Like a scattering of precious stones, it sparkled in all directions to the very horizon. It was the second half of summer, and the time had already passed when the steppe looked like a bride in a wedding dress. Only the emerald green of the reeds remained, yellow-red islands of overripe prickly flowers, and among the overgrowth of belated sorrel, the scarlet eyes of the stone berry burned. The steep sides of well-fed, fattened horses over the summer gleamed the steppe.

And as soon as the sun broke out, a deaf and powerful clatter, snoring, neighing, the dreary roar of camels, the creak of high wooden wheels, human voices immediately became clearly audible. Noisily, quails and blind owls fluttered up from under the bushes, taken by surprise by the approaching avalanche. It was as if the light instantly dissolved the silence and brought it all to life...

At first glance, it was clear that this was not just a seasonal migration of one of the countless auls scattered in the endless Kazakh steppe. As usual, the young horsemen on both sides of the caravan did not rush about, did not laugh with the girls. They rode in silence, keeping close to the camels. And the women on camels, wrapped in white kerchiefs - kimesheks, were also silent. Even small children did not cry and only goggled round black eyes from saddlebags - korzhuns on both sides of the camel's humps.

(I. Esenberlin. Nomads.)

Write out unfamiliar words from the text, determine their meaning in the dictionary.

What art style does the text belong to? Justify your answer.

Determine the type of speech. Justify your answer.

What season is represented in the text?

Highlight the key words and phrases in the text that are necessary to convey the main content.

Write out the paths from the text, determine their type. For what purpose does the author use these figurative and expressive means in the text?

Reproduce the text in your own words. Define the style of your text. Has the functional and stylistic affiliation of the text been preserved?

INTRODUCTION

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

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

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

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

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

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

The classification of styles is based on extralinguistic factors: the scope of the language, the topics determined by it and the goals of communication. The spheres of application of the language correlate with the types of human activity corresponding to the forms of social consciousness (science, law, politics, art). Traditional and socially significant areas of activity are: scientific, business (administrative-legal), socio-political, artistic. Accordingly, they also distinguish styles of official speech (bookish): scientific, official business, journalistic, literary and artistic (artistic). They are opposed to 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 allocation into a separate functional style has not yet been resolved, since it has rather blurred boundaries and can use the language means of all other styles. The specificity of this style is also the presence in it of various figurative and expressive means to convey a special property - figurativeness.

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

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

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

Subject - specific linguistic means of artistic style.

Consider the general concept of "style of speech";

Identify the distinctive features of the artistic style of speech;

Analyze the features of the selection and use of various language 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 the study of the general course of the stylistics of the Russian language, and in the study of a separate topic "Artistic style of speech".

CHAPTER… General concept of speech styles

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

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

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

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

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

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

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

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

The first feature is that each of them has a set of characteristic words and expressions. So, the abundance of terms, special vocabulary to the greatest extent characterizes the scientific style. Colloquial words and expressions indicate that we have a colloquial speech, a colloquial everyday style. Artistic speech is replete with figurative, emotional words, newspaper and journalistic - 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 the words in each style are neutral, interstyle 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, not allowing them to turn into special, hard-to-understand languages. Characteristic words constitute the linguistic specificity of the style. It is they who determine its linguistic appearance.

Common to all functional styles are grammatical means. The grammar of the language is 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. So, for an official business style, which is repelled from everything personal, vaguely personal, returnable constructions, passive turns are very characteristic (reception is made, certificates are issued, money is exchanged). Scientific style prefers direct word order in sentences. The journalistic style is characterized by rhetorical figures: anaphora, epiphora, 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 constructions characteristic of any functional style can be used in another style.

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

Other functional styles are more supportive of emotionality and imagery. For artistic speech, this is one of the main language features. Artistic speech is figurative in nature, essence. Figurativeness in journalism has a different character. However, here it is one of the important terms of style. It is quite predisposed to figurativeness and especially to emotionality and colloquial speech.

Thus, each functional style is a special influential sphere of the literary language, characterized by its own range of topics, its own set of speech genres, specific vocabulary and phraseology. Each functional style is a kind of 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, ease into the literary language. Scientific speech enriches the language with accuracy and rigor of expression, journalism - with emotionality, aphorism, artistic speech - with figurativeness.

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 finds application in fiction, which performs a figurative-cognitive and ideological-aesthetic function. In contrast, for example, to 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 the perception through feelings and the re-creation of reality, the author seeks, first of all, to convey his personal experience, his understanding or understanding 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, metaphorical, meaningful diversity of the artistic style of speech.

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

The basis of the artistic style of speech is the literary Russian language. The word in this functional style performs a nominative-figurative function. The words that form the basis of this style, first of all, 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.

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

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

This is how the transformation of ordinary language into artistic language takes place, such, 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, diverse 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. Here, the means of all other styles can be used - both terms, and official expressions, and colloquial words and turns, and journalism. Of course, all these various means undergo aesthetic transformation, perform certain artistic tasks, and are used in unique combinations. However, there are no fundamental prohibitions or restrictions regarding vocabulary. Any word can be used, as long as it is aesthetically motivated, justified.

It can be said that in the 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 isolation, it is open to any styles, any lexical layers, any linguistic means. Such openness determines the diversity of the language of fiction.

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

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

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

The language of fiction is a kind of mirror of the 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 who speak and write in this language. Artistic speech appears as the pinnacle of language achievement. In it, the possibilities of the national language are presented in the most complete and pure development.

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

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

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

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

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

The recipient of fiction is the reader.

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

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

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

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

The genres of fiction are known - this is a novel, a story, a sonnet, a short story, a fable, a poem, a comedy, a tragedy, a drama, 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 subject 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.

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

dialects, definition

jargon, definition

swear words,

means of other styles, etc.

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

For example, the name of the hero can be a means of creating an image. Writers of the 18th century widely used this technique, introducing “speaking surnames” into the text. To create an image, the author can use the possibilities of polysemy of a word, homonyms, definition within the same text.

Synonyms definition 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 the impact, in artistic speech it can underlie the composition of the text, create the artistic world of the author.

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

Drama A.N. Ostrovsky's "Thunderstorm" N. Dobrolyubov called "A ray of light in a dark kingdom", seeing in her main character - a symbol of the revival of Russian life. His contemporary D. Pisarev 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 petty-bourgeois life." There are many such examples: the interpretation of the image of Shakespeare's Hamlet, Turgenev's Bazarov, Dostoevsky's heroes. An example of the same from Shakespeare is necessary

The artistic text has the author's originality - the style of the author. The style of the author is the characteristic features of the language of the works of one author, consisting in the choice of characters, the compositional features of the text, the language of the characters, 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 well-known 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, then, after meeting with 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 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 the image of a narrator or the image of a hero, a narrator.

The image of the author is a conditional 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 the plot of the work, expresses his attitude to what is happening, the characters, comments on the action, enters into a dialogue with the reader. Author's or lyrical digression is a reflection of the author (lyrical hero, narrator), not connected with the main narrative. You are well acquainted with the novel by M.Yu. Lermontov “A Hero of Our Time”, a novel in verse by A.S. Pushkin "Eugene Onegin", where the image of the author is a vivid example of the expression of a conditional image in the creation of a literary text.

The perception of a literary text is a complex process.

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

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

CONCLUSION

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

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

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

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

It seems to us that the opinion of M.N. Kozhina that “bringing artistic speech beyond the limits of functional styles impoverishes our understanding of the functions of the language. If we deduce artistic speech from among the functional styles, but consider that the literary language exists in a variety of functions, and this cannot be denied, then it turns out that the aesthetic function is not one of the functions of the 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. one

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

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

The language of fiction, despite the stylistic heterogeneity, despite the fact that the author's individuality is clearly manifested in it, still differs in a number of specific features that make it possible to distinguish 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 metaphor, figurativeness of language units of almost all levels, the use of synonyms of all types, ambiguity, different stylistic layers of vocabulary. In the artistic style (compared to other functional styles) there are laws of perception of the word. 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 that is not recorded in dictionaries, and secondly, it retains its connection with the ideological and aesthetic system of this work and is assessed by us as beautiful or ugly, sublime or base, tragic or comic.

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

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

These 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.

artistic speech stylistics Russian

The specificity of the artistic style of speech, as a functional one, lies in the fact that it finds application in fiction, which performs a figurative-cognitive and ideological-aesthetic function. In contrast, for example, to 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 the perception through feelings and the re-creation of reality, the author seeks, first of all, to convey his personal experience, his understanding or understanding 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, metaphorical, meaningful diversity of the artistic style of speech.

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

The basis of the artistic style of speech is the literary Russian language. The word in this functional style performs a nominative-figurative function. The words that form the basis of this style, first of all, 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.

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

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

This is how the transformation of ordinary language into artistic language takes place, such, 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, diverse 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. Here, the means of all other styles can be used - both terms, and official expressions, and colloquial words and turns, and journalism. Of course, all these various means undergo aesthetic transformation, perform certain artistic tasks, and are used in unique combinations. However, there are no fundamental prohibitions or restrictions regarding vocabulary. Any word can be used, as long as it is aesthetically motivated, justified.

It can be said that in the 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 isolation, it is open to any styles, any lexical layers, any linguistic means. Such openness determines the diversity of the language of fiction.

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

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

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

The language of fiction is a kind of mirror of the literary language. Literature is rich, which means that the literary language is also rich. Great poets and writers create new forms of literary language, which are then used by their followers and all who speak and write in this language. Artistic speech appears as the pinnacle of language achievement. In it, the possibilities of the national language are presented in the most complete and pure development.

Art style

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.

The means of artistic expression are 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, silence, etc.

Trope(from other Greek τρόπος - turnover) - in a work of art, words and expressions used in a figurative sense in order to enhance the figurativeness of the language, the artistic expressiveness of speech.

The main types of trails:

• Metaphor(from other Greek μεταφορά - “transfer”, “figurative meaning”) - a trope, a word or expression used in a figurative meaning, which is based on an unnamed comparison of an object with some other on the basis of their common feature. (Nature here is destined for us to cut a window into Europe).

• Metonymy-other Greek μετονυμία - “renaming”, from μετά - “above” and ὄνομα / ὄνυμα - “name”) - a kind of trail, a phrase in which one word is replaced by another, denoting an object (phenomenon) located in one or another (spatial, temporal and etc.) connection with the subject, which is denoted by the replaced word. The replacement word is used in a figurative sense. Metonymy should be distinguished from metaphor, with which it is often confused, while metonymy is based on the replacement of the word “by contiguity” (part instead of the whole or vice versa, representative instead of class or vice versa, receptacle instead of content or vice versa, etc.), and the metaphor is "by likeness". Synecdoche is a special case of metonymy. (All flags will visit us, ”where flags replace countries)
• Epithet(from other Greek ἐπίθετον - “attached”) - a definition of a word that affects its expressiveness. It is expressed mainly by an adjective, but also by an adverb (“to love passionately”), a noun (“fun noise”), a numeral (second life).

An epithet is a word or a whole expression, which, due to its structure and special function in the text, acquires some new meaning or semantic connotation, helps the word (expression) to acquire color, richness. It is used both in poetry (more often) and in prose. (timid breath; magnificent sign)

• Synecdoche(ancient Greek συνεκδοχή) - a trope, a kind of metonymy based on the transfer of meaning from one phenomenon to another on the basis of a quantitative relationship between them. (Everything is sleeping - both man, and beast, and bird; We all look at Napoleons; In the roof for my family;

Well, sit down, luminary; Best of all, save your penny.)

• Hyperbola(from other Greek ὑπερβολή “transition; excess, excess; exaggeration”) - a stylistic figure of explicit and intentional exaggeration, in order to enhance expressiveness and emphasize the thought said. (I've said this a thousand times; We have enough food for six months.)
• Litota is a figurative expression that downplays the size - the strength, the meaning of what is being described. A litote is called a reverse hyperbole. (Your Pomeranian, lovely Pomeranian, no more than a thimble).
• Comparison- a trope in which one object or phenomenon is likened to another according to some common feature for them. The purpose of comparison is to reveal in the object of comparison new properties that are important for the subject of the statement. (A man is stupid as a pig, but cunning as hell; My house is my fortress; He walks like a gogol; An attempt is not torture.)

• In stylistics and poetics, paraphrase (paraphrase, paraphrase; from other Greek. περίφρασις - “descriptive expression”, “allegory”: περί - “around”, “about” and φράσις - “statement”) is a trope that descriptively expresses one concept with the help of several.

Paraphrase is an indirect reference to an object by not naming it, but by describing it. (“Night luminary” = “moon”; “I love you, creation of Peter!” = “I love you, St. Petersburg!”).

• allegory (allegory)- conditional representation of abstract ideas (concepts) through a specific artistic image or dialogue.

For example: “The nightingale is sad at the defeated rose, hysterically sings over the flower. But the garden scarecrow also sheds tears, loving the rose secretly.

• personification(personification, prosopopoeia) - tropes, the assignment of the properties of animate objects to inanimate ones. Very often, personification is used in the depiction of nature, which is endowed with certain human features.

For example:

And woe, woe, grief! And the bast of grief was girded, The legs were entangled with bast.

folk song

The state is like an evil stepfather, from whom, alas, you can’t run away, because it’s impossible to take your motherland with you - a suffering mother.

Aidyn Khanmagomedov, Visa Response

• Irony(from other Greek εἰρωνεία - “pretense”) - a trope in which the true meaning is hidden or contradicts (opposed) to the obvious meaning. Irony creates the feeling that the subject matter is not what it seems. (Where can we, fools, drink tea).
• Sarcasm(Greek σαρκασμός, from σαρκάζω, literally “to tear [meat]”) - one of the types of satirical exposure, caustic mockery, the highest degree of irony, based not only on the increased contrast of the implied and expressed, but also on the immediate intentional exposure of the implied.

Sarcasm is a mockery that can open with a positive judgment, but in general it always contains a negative connotation and indicates a lack of a person, object or phenomenon, that is, in relation to what it is happening. Example:

The capitalists are ready to sell us a rope with which we will hang them. If the patient really wants to live, doctors are powerless. Only the Universe and human stupidity are infinite, while I have doubts about the first of them.

Genres of artistic speech: epic (ancient literature); narrative (novels, novellas, short stories); lyrical (poems, poems); dramatic (comedy, tragedy)

Fiction-Fiction

Fiction style has an aesthetic effect. It most clearly reflects the literary and, more broadly, the national language in all its diversity and richness, becoming a phenomenon of art, a means of creating artistic imagery. In this style, all the structural aspects of the language are most widely represented: the vocabulary with all the direct and figurative meanings of words, the grammatical structure with a complex and branched system of forms and syntactic types.

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See what "Artistic style" is in other dictionaries:

art style- the way the language functions, fixed in fiction. Heading: Style Genus: Style of language Other associative links: Language of fiction Literary works that are distinguished by artistic content and ... ... Terminological dictionary-thesaurus on literary criticism

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artistic style of speech- (artistically pictorial, artistically fiction) One of the functional styles that characterize the type of speech in the aesthetic sphere of communication: verbal works of art. The constructive principle of artistic style is ... ... Dictionary of linguistic terms T.V. Foal

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Artistic style of speech, or artistic and graphic, artistic and fiction- - one of the functional styles (see), characterizing the type of speech in the aesthetic sphere of communication: verbal works of art. The constructive principle of H. s. R. – contextual translation of the word concept into the word image; specific stylistic trait - ... ... Stylistic encyclopedic dictionary of the Russian language

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- (from the Greek stylos a stick for writing) eng. style; German Style. 1. The totality of ideological and ethical norms and characteristic features of activity, behavior, method of work, lifestyle. 2. The totality of signs, traits, features inherent in h. l. (in particular … Encyclopedia of Sociology

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Art style serves a special sphere of human activity - the sphere of verbal and artistic creativity. Like other styles, the artistic one performs all the most important social functions of the language:

1) informative (reading works of art, we get information about the world, about human society);

2) communicative (the writer communicates with the reader, conveying to him his idea of ​​the phenomena of reality and counting on a response, and unlike a publicist who addresses the masses, the writer addresses the addressee who is able to understand him);

3) affecting (the writer seeks to evoke an emotional response in the reader to his work).

But all these functions in the artistic style are subordinate to its main function -aesthetic , which consists in the fact that reality is recreated in a literary and artistic work through a system of images (characters, natural phenomena, environment, etc.). Each significant writer, poet, playwright has his own, original vision of the world, and to recreate the same phenomenon, different authors use different language means, specially selected, rethought.V. V. Vinogradov noted: “... The concept of “style” as applied to the language of fiction is filled with a different content than, for example, in relation to business or clerical styles, and even journalistic and scientific styles ... The language of fiction is not quite correlative with other styles, he uses them, includes them, but in peculiar combinations and in a transformed form ... "

Fiction, like other types of art, is characterized by a concrete-figurative representation of life, in contrast, for example, to an 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 seeks to convey, first of all, his personal experience, his understanding and understanding of this or that phenomenon. For the artistic style of speech, attention to the particular and the accidental is typical, followed by the typical and the general.The world of fiction is a "recreated" world, the depicted reality is, to a certain extent, the author's fiction, which means that the subjective moment plays the main role in the artistic style of speech. The whole surrounding reality is presented through the vision of the author. 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, etc. This is connected with emotionality, expressiveness, metaphor, and the richness of the artistic style. 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-artistic speech, make up two levels of the national language. The basis of the artistic style of speech is the literary Russian language. The word in this functional style performs a nominative-figurative function.

The lexical composition and functioning of words in the artistic style of speech have their own characteristics. The words that form the basis and create the imagery of this style, first of all, include the figurative means of the 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. For example, L. N. Tolstoy in the novel "War and Peace" used special military vocabulary when describing battle scenes. We will find a significant number of words from the hunting lexicon in the “Notes of a Hunter” by I. S. Turgenev, in the stories of M. M. Prishvin, V. A. Astafiev. In the "Queen of Spades" by A. S. Pushkin there are many words related to the card game, etc.

In the artistic style, the polysemy of the word is very 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 emotionality and expressiveness of the image come 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 act as concrete sensory representations. Thus, the styles functionally complement each other. For example, the adjective "lead" in scientific speech it realizes its direct meaning (lead ore, lead bullet), and in artistic speech it forms an expressive metaphor (lead clouds, lead night, lead waves). Therefore, in artistic speech, phrases play an important role, which create a certain figurative representation.

The syntactic structure of artistic speech reflects the flow of figurative-emotional impressions of the author, so here you can find the whole variety of syntactic structures. Each author subordinates linguistic means to the fulfillment of his ideological and aesthetic tasks. In artistic speech, deviations from structural norms are also possible, due to artistic actualization, that is, the author's allocation of some thought, idea, feature that is important for the meaning of the work. They can be expressed in violation of phonetic, lexical, morphological and other norms. Especially often this technique is used to create a comic effect or a bright, expressive artistic image.

In terms of diversity, richness and expressive possibilities of language means, the artistic style stands above other styles, is the most complete expression of the literary language. A feature of the artistic style, its most important feature is imagery, metaphor, which is achieved by using a large number of stylistic figures and tropes.

trails - these are words and expressions used in a figurative sense in order to enhance the figurativeness of the language, the artistic expressiveness of speech. The main types of trails are as follows

Metaphor - trope, a word or expression used in a figurative sense, which is based on an unnamed comparison of an object with some other on the basis of their common feature: And my tired soul is embraced by darkness and cold. (M. Yu. Lermontov)

Metonymy - a type of trail, a phrase in which one word is replaced by another, denoting an object (phenomenon) that is in one or another (spatial, temporal, etc.) connection with the object, which is indicated by the replaced word: The hiss of frothy goblets and punch blue flames. (A. S. Pushkin). The replacement word is used in a figurative sense. Metonymy should be distinguished from metaphor, with which it is often confused, while metonymy is based on the replacement of the word “by contiguity” (part instead of the whole or vice versa, representative instead of class, etc.), while metaphor is based on the replacement “by similarity ".

Synecdoche – one of the types of metonymy, which is the transfer of the meaning of one object to another on the basis of the quantitative relationship between them: And it was heard until dawn how the Frenchman rejoiced. (M. Yu. Lermontov).

Epithet - a word or a whole expression, which, due to its structure and special function in the text, acquires some new meaning or semantic connotation, helps the word (expression) to acquire color, richness. The epithet is expressed mainly by the adjective, but also by the adverb (hotly love), noun (fun noise), numeral (second Life).

Hyperbola - a trope based on explicit and deliberate exaggeration, in order to enhance expressiveness and emphasize the thought said: Ivan Nikiforovich, on the contrary, has trousers in such wide folds that if they were inflated, the whole yard with barns and buildings could be placed in them (N.V. Gogol).

Litotes - a figurative expression that downplays the size, strength, meaning of the described: Your Pomeranian, lovely Pomeranian, is no more than a thimble ... (A. S. Griboyedov). A litote is also called an inverse hyperbola.

Comparison - a trope in which there is an assimilation of one object or phenomenon to another according to some common feature for them. The purpose of the comparison is to reveal in the object of comparison new properties that are important for the subject of the statement: Anchar, like a formidable sentry, stands alone in the whole universe (A. S. Pushkin).

personification – trope, which is based on the transfer of the properties of animate objects to inanimate ones:Silent sadness will be consoled, and joy will reflect friskyly (A. S. Pushkin).

paraphrase – trope, in which the direct name of an object, person, phenomenon is replaced by a descriptive turnover, which indicates the signs of an object, person, phenomenon that is not directly named: the king of beasts (lion), people in white coats (doctors), etc.

Allegory (allegory) - conditional representation of abstract ideas (concepts) through a specific artistic image or dialogue.

Irony - a trope in which the true meaning is hidden or contradicts (opposed) to the explicit meaning: Where can we, fools, drink tea. Irony creates the feeling that the subject matter is not what it seems.

Sarcasm - one of the types of satirical exposure, the highest degree of irony, based not only on the increased contrast of the implied and expressed, but also on the deliberate exposure of the implied: Only the Universe and human stupidity are infinite. Although I have doubts about the first one (A. Einstein). If the patient really wants to live, the doctors are powerless (F. G. Ranevskaya).

Stylistic figures – these are special stylistic turns that go beyond the necessary norms for creating artistic expression. It should be emphasized that stylistic figures make speech information redundant, but this redundancy is necessary for the expressiveness of speech, and therefore for a stronger impact on the addressee.Stylistic figures include:

Rhetorical address – giving the author's intonation solemnity, irony, etc..: And you, arrogant descendants ... (M. Yu. Lermontov)

Rhetorical question - it's special construction of speech, in which the statement is expressed in the form of a question. The rhetorical question does not require an answer, but only enhances the emotionality of the statement:And over the fatherland of enlightened freedom will the longed-for dawn finally rise? (A. S. Pushkin).

Anaphora - a stylistic figure consisting in the repetition of related sounds, words or groups of words at the beginning of each parallel row, that is, in the repetition of the initial parts of two or more relatively independent segments of speech (half-lines, verses, stanzas or prose passages):

The winds did not blow in vain,
Not in vain was a thunderstorm (S. A. Yesenin).

Epiphora - a stylistic figure consisting in the repetition of the same words at the end of adjacent segments of speech. Often the epiphora is used in poetic speech in the form of the same or similar endings of stanzas:

Dear friend, and in this quiet house
The fever hits me
Can't find me a place in a quiet house
Near a peaceful fire (A. A. Blok).

Antithesis - rhetorical opposition, a stylistic figure of contrast in artistic or oratory speech, which consists in a sharp opposition of concepts, positions, images, states, interconnected by a common structure or internal meaning: Who was nobody, he will become everything!

Oxymoron - a stylistic figure or a stylistic error, which is a combination of words with the opposite meaning (that is, a combination of incongruous). An oxymoron is characterized by the intentional use of contradiction to create a stylistic effect:

gradation – grouping homogeneous members of a sentence in a certain order: according to the principle of increasing or weakening emotional and semantic significance: I don’t regret, I don’t call, I don’t cry ... (S. A. Yesenin)

Default – deliberate interruption of speech, based on the guess of the reader, who must mentally complete the phrase:But listen: if I owe you ... I own a dagger, I was born near the Caucasus ... (A. S. Pushkin).

Polyunion (polysyndeton) - a stylistic figure consisting in a deliberate increase in the number of unions in a sentence, usually to connect homogeneous members. Slowing down speech with pauses, polyunion emphasizes the role of each of the words, creating a unity of enumeration and enhancing the expressiveness of speech: And for him they resurrected again: both the deity, and inspiration, and life, and tears, and love (A. S. Pushkin).

Asyndeton (asyndeton)- stylistic figure: construction of speech, in which conjunctions connecting words are omitted. Asyndeton gives the statement swiftness, dynamism, helps to convey a quick change of pictures, impressions, actions: Swede, Russian, cuts, stabs, cuts, drumming, clicks, rattle ... (A. S. Pushkin).

Parallelism - a stylistic figure, which is an arrangement of speech elements that are identical or similar in grammatical and semantic structure in adjacent parts of the text. Parallel elements can be sentences, their parts, phrases, words:

The stars are shining in the blue sky
In the blue sea the waves are whipping;
A cloud is moving across the sky
A barrel floats on the sea (A. S. Pushkin).

Chiasmus - a stylistic figure, consisting in a cruciform change in the sequence of elements in two parallel rows of words: Know how to love art in yourself, and not yourself in art (K. S. Stanislavsky).

Inversion - a stylistic figure, consisting in violation of the usual (direct) word order: Yes, we were very friendly (L. N. Tolstoy).

In the creation of artistic images in a literary work, not only figurative and expressive means are involved, but also any units of language, selected and organized in such a way that they acquire the ability to activate the reader's imagination, cause certain associations. Due to the special use of linguistic means, the described, denoted phenomenon loses the features of the general, becomes concretized, turns into a single, particular one, the only idea of ​​which is imprinted in the mind of the writer and recreated by him in a literary text.Let's compare two texts:

Oak, a genus of trees in the beech family. About 450 species. It grows in the temperate and tropical zones of the Northern Hemisphere and South America. The wood is strong and durable, with a beautiful pattern on the cut. Forest breed. Pedunculate oak (height up to 50 meters, lives from 500 to 1000 years) forms forests in Europe; rock oak - in the foothills of the Caucasus and Crimea; Mongolian oak grows in the Far East. Cork oak is cultivated in the subtropics. The bark of the English oak is used for medicinal purposes (contains astringents). Many species are decorative (Encyclopedic Dictionary).

There was an oak at the edge of the road. Probably ten times older than the birches that make up the forest, it was ten times thicker and twice as tall as each birch. It was a huge, two-girth oak, with boughs broken off long ago, apparently, and with broken bark, overgrown with old sores. With his huge clumsy, asymmetrically spread arms and fingers, he stood between the smiling birches like an old, angry and suspicious freak. Only he alone did not want to submit to the charm of spring and did not want to see either spring or the sun (L. N. Tolstoy "War and Peace").

Both texts describe oak, but if the first one deals with a whole class of homogeneous objects (trees, the general, essential features of which are presented in a scientific description), then the second one speaks of one, specific tree. When reading the text, an idea arises of an oak, personifying old age immersed in itself, opposed to birch trees “smiling” in spring and the sun. Concretizing the phenomena, the writer resorts to the method of personification: at the oak huge hands and fingers, he looks old, angry, contemptuous freak. In the first text, as is typical of the scientific style, the word oak expresses a general concept, in the second it conveys the idea of ​​a particular person (author) about a particular tree (the word becomes an image).

From the point of view of the speech organization of texts, the artistic style turns out to be opposed to all other functional styles, since the fulfillment of the aesthetic function, the tasks of creating an artistic image allow the writer to use the means of not only the literary language, but also the common language (dialectisms, jargon, vernacular). It should be emphasized that the use of non-literary elements of the language in works of art must meet the requirements of expediency, moderation, and aesthetic value.The writers' free recourse to linguistic means of different stylistic coloring and different functional and stylistic correlation can create the impression of "various styles" of artistic speech. However, this impression is superficial, since the attraction of stylistically colored means, as well as elements of other styles, is subordinated in artistic speech to the performance of an aesthetic function : they are used to create artistic images, to realize the ideological and artistic intention of the writer.Thus, the artistic style, like all others, is formed on the basis of the interaction of extralinguistic and linguistic factors. Extralinguistic factors include: the sphere of verbal creativity itself, the peculiarities of the writer's worldview, his communicative attitude; to linguistic ones: the possibility of using various units of the language, which undergo various transformations in artistic speech and become a means of creating an artistic image, embodying the author's intention.