Literary Russian language and dialects. Dialect words: examples and meaning. What is a dialect word

Dialectisms are words borrowed from dialects of the same language. Being by nature the same barbarisms (since the boundaries between dialects and languages ​​cannot be established precisely), they differ only in that they take words from dialects that are more familiar and mostly non-literary, i.e. who do not have their own written literature. In this case, two cases should be distinguished: the use of dialects of ethnic groups, or regional (“provincialisms”), and the use of dialects of individual social groups.

Ethnic dialectisms, borrowed from different dialects, are usually used to give “local flavor” to an expression. In addition, given the fact that they are taken from the dialects of people far from literary culture, here we notice everywhere a certain “decrease” in the language, i.e. the use of forms of speech that are neglected in the dialect of the average “literary educated” person.

These dialectisms entered Russian literature in a wide stream in the 30s in the works of Dahl, Pogorelsky and especially Gogol.

“And so we shrugged off all this trouble, put it to rest, as they say in Ukraine.”

“So, my Cossack turned away from the girl with whom he was getting married...”

With these Ukrainianisms or Little Russianisms, Dahl in the cited examples not only tries to convey the local flavor of what is happening, but also imitates the fairytale style of the fictional Ukrainian narrator:

“I have already said that it happened in Ukraine, so don’t let them blame me for the fact that my fairy tale is full of Ukrainian speeches. This fairy tale was also sent to me by a Cossack: Gritsko Osnovyanenko, if you knew him.”

(Dahl. “The Witch.”)

In the same way, Gogol motivates Ukrainianisms with the dialect of the narrator Rudy Panka.

Close to dialectisms (i.e. to words that are not normally used in the dialect of persons speaking the general Russian literary language) are provincialisms, i.e. words and sayings that have penetrated into the dialect of literary-speaking townspeople, but have not become widespread throughout the territory and are used only in one area. Many examples can be found, for example, in the local names of animals, birds, fish and plants. Ostrovsky in the play “Mad Money” characterizes his provincial hero Vasilkov:

“He speaks slightly with an “o”, uses sayings belonging to residents of the cities of the middle Volga: when there is no, instead of yes; Oh my God! instead of denial, scraper instead of neighbor.”

Borrowings from dialects of various social groups have a slightly different function. This is, for example, the characteristic use of the so-called “philistine dialect”, i.e. dialect of urban strata occupying an intermediate position between the strata that use the literary language and the strata that speak a pure dialect.

Merchant characters in Ostrovsky's comedies usually use bourgeois dialect.

Turning to the bourgeois dialect, writers usually note the following feature of the vocabulary: the bourgeois strata gravitate towards the assimilation of purely literary words (“educated”), but, having assimilated them, they distort and reinterpret them. Such a change in a word with its reinterpretation is called folk etymology. Works using the vocabulary of bourgeois dialects usually widely use the vocabulary of folk etymologies. For example:

Balzaminova. Here's what, Misha, there are some French words that are very similar to Russian ones; I know a lot of them, you should at least memorize them in your spare time. Sometimes you listen at name days, or at a wedding, how young gentlemen talk to young ladies - it’s just a delight to listen to.

Balzaminov. What words are these, mama? After all, who knows, maybe they will do me good.

Balzaminova. Of course, for the good. Listen here! You keep saying: “I’ll go for a walk!” This, Misha, is not good. Better say: “I want to make a prominence!”

Balzaminov. Yes, mama, this is better. You are telling the truth! Prominage is better.

Balzaminova. About whom they speak badly, this is morality.

Balzaminov. I know that.

Balzaminova. If a person or some thing is not worth attention, some insignificant thing, how can one say about it? Rubbish? It's kind of awkward. Better in French: "Goltepa".

Balzaminov. Goltepa. Yes, that's good.

Balzaminova. But if someone gets presumptuous, has a lot of dreams about himself, and suddenly his force is knocked down, this is called “asage.”

Balzaminov. I didn’t know this, mama, but this word is good, Asazhe, asazhe...”

(Ostrovsky. “Your own dogs are biting - don’t bother someone else’s.”)

“Here a left-hander sat down at the table and sat there, but he didn’t know how to ask something in English. But then he realized: again he would simply tap on the table with his finger and show it to himself in his mouth - the English guess and serve, but not always what is needed, but he will not accept anything that is not suitable for him. They served him hot cooking on fire; - he says: “I don’t know that you can eat something like that,” and he didn’t eat it - they changed it for him and put on another dish. Also, I didn’t drink their vodka, because it was green - it seemed like it was seasoned with vitriol, but I chose what was most natural, and waited for the courier in the cool behind the eggplant.

And those people to whom the courier handed over the nymphosoria immediately examined it with the strongest microscope and now included it in the public records of the description, so that tomorrow it would be publicly known as slander.”

(Leskov. “Lefty”. The Tale of the Tula Oblique Lefty and the Steel Flea.)

Here, the peculiar vocabulary serves, firstly, to create a characteristic fairytale background. The vocabulary itself (as well as syntax) is characterized by the narrator. On the other hand, “folk etymologies” provide scope for semantic comparisons (“slander” equals feuilleton, etc.), producing a comic effect. Leskov’s language is especially rich in these new formations, motivated by “folk etymology”: “Abolon Polvedersky”, “buremets”, “ajidation”, “veroyatsiya”, “bite”, “water-eye”, “tugament”, “Count Kiselvrode”, “Solid Earth Sea”, “multiplication dot”, etc.

Let us note that the “folk etymologies” actually used in dialects relatively rarely provide an example of the contamination of words according to their meaning. So, if instead of “kerosene” they say “crucian carp,” bringing this word closer to the word “crucian carp,” then no one sees any connection between kerosene and crucian carp. Artificial, literary “folk etymologies” are characterized by contamination in meaning, which has a comic effect due to the unexpected convergence of two concepts: “feuilleton - slander” (i.e. feuilleton as a form of newspaper libel). This semantic contamination is possible even without the motivation of bourgeois dialect, for example:

“Dorogoychenko, Gerasimov, Kirilov, Rodov - what a uniform landscape.”

(V. Mayakovsky.)

The same class of stylistic phenomena based on speech distortion includes the imitation of the Russian dialect of foreigners who do not speak Russian well. Here, predominantly phonetic and morphological changes in words are usually emphasized, as well as the introduction of foreign vocabulary into Russian speech:

“You receive government apartments, with firewood, with litht (Licht - light) and with servants, which you are not worthy of,” Krestyan Ivanovich’s answer sounded sternly and horribly like a sentence.”

(Dostoevsky.)

Wed. the opposite is the distortion of foreign speech in the mouths of Russians:

“Pourquois vu touche, purquois vu touche,” shouted Anton Pafnutich, conjugating the Russian verb touche in the French manner. “I can’t sleep in the dark.”

The area of ​​varieties of dialectisms should also include the use of vocabulary of professional groups, as well as dialects that arise in a certain everyday situation - the so-called jargons (thieves' jargon, street "argot", etc.). Examples of this kind of dialectism can be found in the sea stories of Stanyukovich, in the tramp stories of Maxim Gorky, etc. Here is an example of imitation of professional vocabulary (medical) in one of Chekhov’s early stories:

"A novel by a doctor. If you have reached manhood and graduated from science, then the recipe: feminam unam and dowry quantum satis. I did just that: I took feminam unam (it is not allowed to take two) and the dowry. Even the ancients condemned those who, when getting married, did not take a dowry (Ichthyosaur, XII, 3). I prescribed horses, mezzanine, started drinking vinum gillicum rubrum and bought myself a fur coat for 700 rubles. In a word, lege artis has healed. Her habitus is not bad. Average height. The coloring of the skin and mucous membranes is normal, the subcutaneous layer is well developed. The chest is normal, there are no wheezes, vesicular breathing. Heart sounds are clear. In the sphere of psychic phenomena, only one deviation is noticeable: she is talkative and loud. Thanks to her talkativeness, I suffer from hyperesthesia of the right auditory nerve,” etc.

The so-called “vulgarisms” are also related to jargon, i.e. the use in literature of rude words of common parlance (“bastard”, “bitch”, etc.).

For example:

Us
lyrics
with hostility
repeatedly attacked
Looking for speeches
accurate
and naked.
But poetry -
most disgusting thing
Exists -
and not even a kick.

(V. Mayakovsky.)

As a matter of fact, it is in this area of ​​​​various “jargon” that the stylistic diversity of prose works lies, which for artistic purposes use those forms of living spoken language that are, as it were, “established” and familiar in certain conditions life and in certain layers. With such speech is associated an idea of ​​her everyday conditions, and the artist resorts to this means, either to characterize the environment being described, or to describe the characters of his story by the way of speech, or - in parodic use - to create the impression of comedy or grotesque by the contrast between theme and style ( ugly, morbid comedy).

Tomashevsky B.V. Theory of literature. Poetics - M., 1999

“With quick steps I walked through a long “square” of bushes, climbed a hill and, instead of the expected familiar plain (...) I saw completely different places unknown to me” (I. S. Turgenev, “Bezhin Meadow”). Why did Turgenev put the word “square” in quotation marks? Thus, he wanted to emphasize that this word in this meaning is alien to the literary language. Where did the author borrow the highlighted word from and what does it mean? We find the answer in another story of his. “In the Oryol province, the last forests and squares will disappear in five years...” says Turgenev in “Khora and Kalinich” and makes the following note: “Square” are large continuous masses of bushes in the Oryol province.”

Many writers, depicting village life, use words and stable phrases of the folk dialect common in the area (territorial dialect). Dialectal words used as part of literary speech are called dialectisms.

We find dialectisms in A. S. Pushkin, I. S. Turgenev, N. A. Nekrasov, L. N. Tolstoy, V. A. Sleptsov, F. M. Reshetnikov, A. P. Chekhov, V. G. Korolenko, S. A. Yesenina, M. M. Prishvina, M. A. Sholokhova, V. M. Soloukhina, I. V. Abramova, V. I. Belova, V. M. Shukshina, V. G. Rasputina, V. P. Astafiev, A. A. Prokofiev, N. M. Rubtsov and many others.

Dialect words are introduced by the author, first of all, to characterize the character’s speech. They simultaneously indicate the social position of the speaker (usually belonging to a peasant environment) and his origin from a certain area. “There are all these gullies and ravines all around, and in the ravines all the kazyuli are found,” says Turgenev’s boy Ilyusha, using the Oryol word for a snake. Or from A. Ya. Yashin: “I’m walking along the clearings and I see something moving. Suddenly, I think, a hare? - says a Vologda peasant. This reflects the non-discrimination ts And h, inherent in some northern dialects, and also used the local word “osek” - a fence made of poles or brushwood that separates a pasture from a hayfield or village.

Writers with a keen sense of language do not overload the characters’ speech with dialectal features, but convey its local character in a few strokes, introducing either a single word or a phonetic (sound), word-formation or grammatical form characteristic of the dialect.

Writers often turn to local words that name objects and phenomena of rural life and have no correspondence in the literary language. Let us remember Yesenin’s poems addressed to his mother: “Don’t go on the road so often // In an old-fashioned, shabby shushun.” Shushun is the name of women's clothing, such as a jacket, worn by Ryazan women. We find similar dialectisms in modern writers. For example, from Rasputin: “Out of the whole class, I was the only one wearing teal.” In Siberia, chirki are light leather shoes, usually without tops, with edging and ties. The use of such words helps to more accurately reproduce the life of the village. Writers use dialect words when depicting landscapes, which gives the description a local flavor. Thus, V.G. Korolenko, drawing a harsh path down the Lena, writes: “Across its entire width, “hummocks” stuck out in different directions, which the angry fast river threw at each other in the fall in the fight against the terrible Siberian frost.” And further: “For a whole week I have been looking at the strip of pale sky between the high banks, at the white slopes with a mourning border, at the “pads” (gorges) mysteriously creeping out from somewhere out of the Tunguska deserts...”

The reason for using dialectism may also be its expressiveness. Drawing the sound that the moving reeds make, I. S. Turgenev writes: “... the reeds... rustled, as we say” (meaning the Oryol province). Nowadays, the verb “rustle” is a commonly used word in the literary language; a modern reader would not have guessed its dialectal origin if not for this note from the writer. But for Turgenev’s time this is dialectism, which attracted the author with its onomatopoeic character.

Associated with the difference in artistic tasks are different ways presentation of dialectisms in the author's speech. Turgenev and Korolenko usually highlight them and give them an explanation. In their speech, dialectisms are like inlays. In Belov, Rasputin, and Abramov, dialect words are introduced on equal terms with literary ones. In their works, both are woven together like different threads in a single fabric. This reflects the inextricable connection of these authors with their heroes - the people of their native land, about whose destinies they write. This is how dialectisms help reveal the ideological content of a work.

Literature, including fiction, serves as one of the conductors of dialect words into the literary language. We have already seen this in the example of the verb “rustle”. Here's another example. The word “tyrant,” well known to all of us, entered the literary language from the comedies of A. N. Ostrovsky. In the dictionaries of that time it was interpreted as “stubborn” and appeared with territorial marks: Pskov(skoe), hard(skoe), ostash(kovskoe).

The entry of dialectism into a literary (standardized) language is a long process. The replenishment of the literary language through dialect vocabulary continues in our time.

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1. The role of dialectisms in works of Russian literature

2. Dialectisms in the works of N. V. Gogol

3. Dialectisms in the works of I. S. Turgenev

4. Dialectisms in the works of S. A. Yesenin

In linguistics, the question of dialectisms in the composition of the language of a work of art is one of the least studied. Separate works of such scientists as V. N. Prokhorov “Dialectisms in the language of fiction”, E. F. Petrishcheva “Extraliterary vocabulary in modern fiction”, P. Ya Chernykh “On the question of methods of artistic reproduction of folk speech”, O. A Nechaeva “Dialectisms in the fiction of Siberia” and others. A number of works are devoted to the analysis of dialect vocabulary in specific works of Russian writers of the 19th – 20th centuries: dialectisms in the works of I. S. Turgenev, S. Yesenin, M. Sholokhov, V. Belov, F. Abramov.

In works of fiction, the originality of dialects can be reflected to varying degrees. Depending on what specific features are conveyed in dialect words, they can be classified into four main groups:

1. Words that convey the features of the sound structure of a dialect - phonetic dialectisms.

2. Words that differ in grammatical forms from words in the literary language are morphological dialectisms.

3. Features of the construction of sentences and phrases conveyed in the literary language of a work of art, characteristic of dialects - syntactic dialectisms.

4. Words from the vocabulary of the dialect used in the language of fiction are lexical dialectisms. Such dialectisms are heterogeneous in composition. Among the vocabulary contrasted vocabulary, the following stand out:

a) semantic dialectisms - with the same sound design, such words in the dialect have the opposite literary meaning (homonyms in relation to the literary equivalent);

b) lexical dialectisms with a complete difference in terms of content from the literary word (synonyms in relation to the literary equivalent);

c) lexical dialectisms with partial differences in the morphemic composition of the word (lexical-word-formative dialectisms), in its phonemic and accentological fixation (phonemic and accentological dialectisms).

5. Dictionary non-opposed vocabulary includes dialect words, which are names of local objects and phenomena that do not have absolute synonyms in the literary language and require a detailed definition - so-called ethnographisms.

The above classification of the use of dialectisms in the language of a work of art is conditional, since in some cases dialect words can combine the characteristics of two or more groups.

At the beginning of the 19th century, after the formation of the “new syllable of the Russian language”, from which by that time vulgarisms, dialectisms, colloquial words and expressions were excluded, new, more democratic norms of the literary language appeared.

Along with this, there was a process of artistic and speech formation of national characters, which is closely connected with the idea of ​​nationality in the Russian literary language. Linguistically, in the few works of art it was the process of “infusing the literary narrative with fresh shoots of living oral speech, its different dialects and styles.” In connection with the development of this process, the question of the meaning of dialectisms in the composition of the language of artistic works, their functions and the limits of their use becomes particularly acute.

2. V.V. Vinogradov in Chapter IX of the book “Essays on the History of the Russian Literary Language” entitled “Gogol’s language and its significance in the history of Russian literary speech of the 19th century” examines the dialectal and stylistic composition of Gogol’s language, the principle of mixing the styles of literary and bookish language with different dialects of oral speech, as well as the breadth of coverage of class, professional and regional dialectisms in the language of N.V. Gogol.

V.V. Vinogradov highlights the reflective (characterological) function of dialectisms in the language of N.V. Gogol’s works, citing the fact that the Ukrainian dialect, whose dialectisms N.V. Gogol skillfully interspersed into literary texts, is considered as a language of local household use. And only in this function could he get into Russian literature of the 19th century, as an expression and reflection of Ukrainian folk types (mainly with a comic overtone).

According to V.V. Vinogradov: “in Gogol’s style, social facets were introduced into the Ukrainian element through forms of mixing it with dialects and styles of the Russian language.”

Thus, N.V. Gogol deliberately Russifies individual words of the Ukrainian dialect, without separating them from the character of the narrators of the story “Evenings on a Farm near Dikanka.” In the works of N.V. Gogol, the conventional literary functions of the Ukrainian vernacular dialect language are sharply emphasized. Pure, non-Russified Ukrainianisms are being introduced into Cossack speech: “That’s it, daddy... ta spasibi mom!..” They are highlighted in italics and commented on by the author in the links.

In the language of “Dead Souls,” lexical dialectisms are widely represented, with the help of which, apparently, the naming function of the lexical level, recreated through ethnographisms and lexical dialectisms, acquires special significance: “The master’s house stood alone on the Jurassic, that is, on a hill open to all the winds.. .”, “Sobakevich hissed as if it weren’t him...”, “he will retire... to some peaceful, out-of-the-way provincial town and there he will hang out forever in a chintz robe, at the window of a low house.” Elements of the relaxed introduction of dialect words into the literary-bookish, descriptive and journalistic language of N.V. Gogol speaks of the writer’s conscious artistic goal: the destruction of the old system of literary-bookish styles. Thus, N.V. Gogol, following A.S. Pushkin, brings literary language closer to living oral folk speech, characteristic of a society of non-aristocratic circles.

3. In the monograph by P. G. Pustovoy “I. S. Turgenev - an artist of words" presents some techniques and functions of dialectisms in artistic speech writer.

1) The main function of dialectisms in the literary texts of I. S. Turgenev, P. G. Pustovoy considers the characterological function: in contrast to Dahl, who sought to literally copy the peasant vocabulary, in contrast to Grigorovich, who, imitating folk speech, created various stylizations, Turgenev (like Gogol) did not strive for naturalistic detail in the description of peasant life, he considered various dialect words and expressions as a characterological means that creates a vivid expression against the background language norm author's speech.

Language as a characterological means, filled with dialect vocabulary, appears especially clearly in I. S. Turgenev’s “Notes of a Hunter.”

2) The author introduces some local words and expressions into the text for educational purposes, that is, in order to expand the reader’s understanding of the features of the described dialect, he explains them, resorting to a peculiar technique of indirect alienation, in which the explanation of the words is given in footnotes: “buchilo” - deep hole with spring water; “Kazyuli” - snakes; “foresters” - people who iron and scrape paper; “sugibel” - a sharp turn in a ravine; “order” - forest; “top” - ravine and more.

3) P. G. Pustova considers the most characteristic technique of I. S. Turgenev when depicting characters to be the technique of dynamization of speech, due to which elements of syntax predominate in the language of the characters: frequent turns of words; use of dialect vocabulary; omissions of predicates, giving movement to speech; interrogative and exclamatory sentences: “One vat’s form moved, rose, dipped, walked, walked in the air, as if someone was rinsing it, and then fell back into place.” With the help of this technique, the story is enlivened and the listeners are activated: “Do you know why he is so gloomy, keeps silent, do you know? That's why he's so sad. He went once, my father said, - he went, my brothers, into the forest for his nuts. So he went into the forest for nuts, and got lost; I went - God knows where I went..."

4) As a speech characteristic of the characters in “Notes of a Hunter,” according to P. G. Pustovoy, distorted foreign words: “shchekolat”, “universities”, “ladekolon”, “feyvirki”, “keatr” and more. However, this phenomenon can also be characterized as a cumulative function of dialectisms, which is carried out through the method of violating the integrity of the graphic image of a word, that is, deviating from the rules of spelling and grammar.

Dialectisms in the essays and stories of I. S. Turgenev are artistically justified, do not lose their independence and constantly interact with the basic vocabulary of the literary language - this gives grounds to assert that I. S. Turgenev multiplied and developed the stylistic richness of Russian artistic speech.

4. Dialectisms actively live in Yesenin’s poetic word. Specially woven into the fabric of his poetic speech, they help create the poet’s unique creative style. Yesenin's dialectal vocabulary is not stylistically marked. Often the reader does not even notice that he has to select the meaning for an incomprehensible word based on its phonetic form and context. The “guessed” value does not always correspond to the actual one. Sometimes dialect words turn a poem into a real puzzle:

In a lake sled over a meadow

Belated call of ducks.

Under the window from slippery fir trees

The shadow holds out its hands.

Quiet waters paragush kvely

Smoking a cradle on the corner.

As N. Shansky writes in the article “Difficult lines of S. Yesenin’s lyrics,” this is “a completely incomprehensible, dark eight-line poem.” It turns out that “in the sled of the lake” means “along the edges of the lake”; the word “paragush” does not mean anything, since it is a typo. The correct name was “karagush kvely” - the name of the bird. It is significant that this typo was reproduced in many publications, since for most readers these lines are just a set of sounds, that is, abstruse. Dialect word-formation models also serve as convenient “building material” for Yesenin’s poems. The stylistic marking of such forms as opposed to the literary norm is usually not emphasized by the poet. Let's give just a few examples: in the evening, after me, blossom (“flower”), apple tree (Near the ravine behind the fences Tanya walks in the evening; The river laughed after me; I’ll kiss you drunk, I’ll dry up like a blossom; Like an apple blossom, gray hair) and many others. etc.

The fact of using S.A. Yesenin's various synonymous constructions can be regarded as a manifestation of a creative artistic approach to the organization of the compositional and speech structure of the text. This approach reveals the author’s orientation towards the selection of means of the national language, the attitude towards the people as the bearer of the spiritual values ​​of Russian culture, which has consolidated in the language centuries-old experience, observation, and figurative mastery of reality. Dialectisms, his native Ryazan speech, organically integrated into the general flow of Yesenin’s poetic word, allow him to “sing in his own way,” in an original way, making his poetry “the best expression of the wide sunsets beyond the Oka and twilight in damp meadows, when fog falls on them, or else bluish smoke from forest burnt areas” (K.G. Paustovsky).

5. From all of the above it follows that the function of dialectisms in the language of works of art depends on the stage of development of the Russian literary language. And if in works of art of the 18th century dialectisms are inseparable from Slavicisms and are considered the norm of artistic speech, and in the 19th century dialectisms in the language of artistic works are a sporadic phenomenon, since the language of the 19th century strives to be cleansed of dialects, vulgarisms, colloquial words and expressions, then The 20th century is characterized by the multifunctionality of dialectisms in literary texts, which is achieved through the use of a larger number of dialect words by writers, which was determined at the beginning of the 20th century by the desire to give Russian speech a publicly accessible “light” character that coincides with the thinking of people of that time.

Artistic speech differs from colloquial speech and not so much by immanent features, but by a given series. This creates a deep difference between these styles: the meaning of dialectisms is modified in artistic speech by sound, while in colloquial speech the sound of dialectisms is modified by their meaning. Thus, the occasional meaning of dialectism, enriched in artistic speech with new meanings, is transformed in the context of the narrative.

In a work of art, dialect vocabulary primarily fills the speech of ordinary people and is used by them in an informal setting, which is due to the conditions of oral communication in which interlocutors from huge amount The most famous words are chosen, those that are more often perceived by ear. Pavel Lukyanovich Yakovlev (1796 - 1835), brother of his lyceum friend A.S. Pushkin, in order to show the originality of local Russian dialects, wrote an “elegy” in the Vyatka dialect, the content of which must be “translated” into Russian, because it contained many incomprehensible dialectisms. Judge for yourself, here is an excerpt from the “Vyatka Elegy” and its literary translation:

“Everyone was shouting that I was an okish, important kid. Where I am, there was always sugat. And now? I’m no longer a whirlwind, like a sweat... Oh, when I close my balls and they put a mitten on me..."

“Everyone said that I was a neat kid, well done. Where I am, it's always crowded. And now? I'm no longer frolicking like a bird! ...Oh when, when I close my eyes and they sprinkle juniper on me!”

In the 20th century, when the right of a writer to replace literary words with dialectisms was hotly debated, some young writers tried to defend their “freedom” of choice. It was then, in the 30s, when this linguistic controversy was taking place, that M. Gorky wished novice authors to write “not in Vyatka, not in robes”...

Writers' interest in dialectisms is dictated by the desire to truthfully reflect the life of the people. Many outstanding masters of speech turned to dialect sources - A. S. Pushkin, N. V. Gogol, N. A. Nekrasov, I. S. Turgenev, L. N. Tolstoy. The dialectisms in Turgenev’s “Bezhin Meadow” do not seem inappropriate to us: “Why are you crying, forest potion?” - about the mermaid; “Gavrila said that her voice was so thin”; “What happened to us the other day at Varnavitsy...”; “The elder got stuck in the gateway... she frightened her own yard dog so much that it was off the chain, through the fence, and into the dog.” Local words in the speech of the boys gathered around the fire do not require “translation”.

And if the writer was not sure that he would be understood correctly, he explained the dialecticisms: “He went like a meadow, you know, where he comes out with a bend, there is a storm there; you know, it’s still overgrown with reeds...” And in this phrase some clarifications need to be made: “A bend is a sharp turn in a ravine”; “Buchilo is a deep hole with spring water” - these are the notes of I. S. Turgenev.

Literature

1. Blinova O. I. The language of artistic works as a source of dialect lexicography. Tyumen, 1985: Leningrad State University, 1956

2. Prokhorova V. N. Dialectisms in the language of fiction. Moscow, 1957

3. Language of works of art. Sat. articles. – Omsk, 1966

4. Yesenin S.A., Works / Comp., Intro. article and comment. A. Kozlovsky. – M.: Artist. lit., 1988. – 703 p.

5. Yartseva V. N. Linguistic encyclopedic dictionary. – M.: Soviet encyclopedia, 1990

Questions and tasks for practical tasks

Practical lesson No. 1.

1. What does Russian dialectology study?

2. What are the main tasks of Russian dialectology?

3. What is called a semi-dialect?

4. What is the source of dialectology?

5. What methods are used in the study of dialects?

6. What is the importance of dialectology in studying the history of the Russian language?

7. Define the terms “dialect”, “adverb”, “dialect”.

8. What dialect differences are called opposed

Practical lesson No. 2

Dialect differences at different levels of the language system: phonetics, word formation, morphology, syntax. Dialect differences c. sphere of phoneme use, positional alternations of stressed phonemes. Transitional types of vocalism between okanye and akanye. The tendency to lose the neuter gender in a dialect language. Declension of nouns. Dialectal differences related to the stress location of nouns. Dialectal differences in the area of ​​syntax: differences in structure, function and meaning, phrases and sentences.

Practical lesson No. 3

Prepare your material for discussion in order to be able to present it publicly and logically trace the connection between different LSG words.

Practical lesson No. 4 Study of vocabulary and semantics based on dialect dictionaries and atlases using the example of Men's clothing

Men's long-skirted clothing, caftan, with gatherings: borcchatka, posadka, chapan, chekmen...

Short outerwear, working jacket: bekeshka, ponitok, ponitka shabur, pokhostnik, shugai... Give me a drawing.

Trousers, trousers: braki, gati, gachi, shanks, nadragi, portenki, trousers, port, portets, portochonki, trousers, trousers...

Quilted trousers: quilted trousers, quilted trousers...

Pants leg: galosh, galoshva, galoshka, belt, porchina, portochina, solopina, solokha, soloshina, solpa, solpina, solpishka, snotlin, snot, stolopa, trouser leg...

Fly: rump, middle, middle, seat, fly...

The back of the trousers: rump, rump, rump, rump, ports, trousers...

Belt of trousers, sewn on the inside: gach, gachi, gachen, gashinka, gashnik, gashen, ogashen, gashnik, lining, edge, edge, sanding, sanding, ochkur, ochkura, girdle, girdle, rib, underbelly...

Belt: danger, danger, girdle, girdle, girdle, girdle, girdle, clasp, belt, strap...

Men's outer shirt: top, verkhovitsa, verkhovnitsa, vershannik...

Kosovorotka: collar, kosovorotka...

The back panel of a man's shirt: the back, the back...

Pelka? Does this word mean: 1) the cut of the collar of a shirt; 2) shirt collar; 3) the front of the shirt; 4) a strip of fabric at the collar of the shirt, where buttons are sewn; 5) where the buttons are fastened...?

A placket made of fabric, which is sewn to a men's shirt, where the buttons are on the inside: flaps, sub flaps...

The slit at the collar of a man's shirt: a hole, a hole...

Side fastening in a men's shirt: half-length...

Lining in the shoulder part of a men's shirt up to half the chest and back: hem, hem, hem, hem, shoulder pad, underarm...

Men's neckerchief: tie, collar, love spell, necklace, necklace, necklace, necklace, necklace...

Men's undershirt: undershirt, undershirt, undershirt, koszul, koszulica, koshulyukhna, nadevakha, nadevashka, vest...

Collar and fastener on a men's undershirt: kondyr, kurtak, kurtysh, kurtyak, collar...

Practical lesson No. 5

A comprehensive, multi-aspect study of vocabulary and semantics based on dialect dictionaries and atlases representing linguistic phenomena in spatial projection.

The Lexical Atlas program reflects the main links of the lexical system of a dialect language not only on a thematic basis, but also on a lexical-semantic basis, which is based on the lexical-grammatical division of words. This refers primarily to abstract nouns, adjectives, verbs, and adverbs.

Some semasiological categories - objectivity, attribution, procedurality - were partly included in the main thematic sections of the Program. The categories of objectivity (nouns) are better represented, while the categories of attribution (adjectives, adverbs) and procedurality (verbs) are much weaker.

Nouns

Fatherland, homeland: patrimony...

Freedom in the manifestation of something, VOLA: volka, volgota...

The right and opportunity to dispose of someone or something, to subordinate to one’s will, power: power, ruler, will...

Power, strength: dominion, possession, howl...

Prohibition, prohibition: prohibition, prohibition...

Arbitrariness: freemen...

Request: execution...

Merit: length of service...

Happiness:…

Misfortune, trouble: knitting...

Lies, untruths: lies, falsehoods, falsehoods...

Anxiety, excitement: homoza...

Resurrection: risen, rise...

Thought, reflection: thoughtful, disgusting...

Property: name...

Loss, damage: flaw...

Practical lesson No. 6

Study of vocabulary and semantics based on dialect dictionaries and atlases representing linguistic phenomena in spatial projection using the material of nouns.

Thought, reflection: thoughtful, disgusting...

Fiction: invention, invention...

Loss, damage: flaw...

Meeting: windy, meeting, windy...

Quarrel: nonsense...

Rest, respite: sigh, inhale...

Lack of bread, hunger: sigh...

Light: visible, visible...

Education, upbringing: study…

Punishment: training, removal...

Boasting: boasting, boasting...

Pleasure: contentment...

Desire, intention: faith...

Politeness: veshvo...

Pride: height...

Practical lesson No. 7

Adjectives

Colored.

Gray, ash-colored: beaded, beaded...

Cloudy (about the sky): gray...

White, silver (about the hair of an elderly person): beaded, beaded...

With an admixture of grayish-white fur (about fur): gray...

Grayish-white, whitish (about moss, fog, etc.): gray...

Light-colored, easily soiled (about clothes): visible, easily soiled...

Pure, transparent (about liquid): white, bright, light...

Cloudy, opaque: gray...

Dirty: beady, beady, scruffy, gloomy, shabby...

Practical lesson No. 8

Sound.

Very loud: feverish...

Quiet: thin...

c) Flavoring.

Delicious: basque, basque, kind, okay, gentle, rolling, the best, tasty, sweet, good...

Tasteless: thin, dashing...

Undersalted: unsalted, lightly salted...

Sweet: sweet, sweet...

Unsweetened: plain...

.Practical lesson No. 9

Study of vocabulary and semantics based on dialect dictionaries and atlases representing linguistic phenomena in spatial projection using the example of adjectives

Characterizing surface properties.

Shiny: shiny...

Rough (to the touch): clumsy, thick, heavy...

Shaggy: shaggy…

Characterizing physical properties, state.

Lethargic (about a person, animal): morose...

Affectionate: affectionate...

Bad (about a thing): thrown, thrown away, thrown down...

Strong, durable: Kremlin, stocky, powerful,

vigorous…

Practical lesson No. 10

Study of vocabulary and semantics based on dialect dictionaries and atlases representing linguistic phenomena in spatial projection using the example of verbs

Work a lot, hard, diligently: coo, poke, trumpet, break, break, turn, toss, mint, tumble, hook, soar, work like a guru...

Work poorly: lick your fingers, do the charmak...

Get tired of work, get overworked: get tired of it, get tired of it, get tired of it, get tired of it, get tired of it, get tired of it, get tired of it, get tired of it...

To do something for a long time, slowly: to tangle, to flail, to wallow, to flop, to mumble, to flutter...

To be lazy: to eat, to get busy, to hang around...

To spend time idly, to walk idly, to do nothing: to whimper, to huff, to shiver, to wander, to float, to slander, to blond, to blond, to loiter, to whip...

Speak (o.n.): babble, babble, babble...

Speak slowly, talk: babble, joke, coo, joke, talk, scribble, babble, babble, tell.

Speak uncertainly: bark, babble...

Speak loudly: yawn, yawn, loon, bark, hum, cackle, hum, cackle, cackle, cackle...

To talk a lot: to chat, to bell, to rattle, to babble, to babble, to elbow, to roll, to babble, to babble, to chicken...

Practical lesson No. 11

Study of vocabulary and semantics based on dialect dictionaries and atlases representing linguistic phenomena in spatial projection using the example of “Living premises and its parts”

Living space: hut, upper room, gorenka, hut, room, five-walled building, front, middle, side, back, shomnosha, kitchen, closet... If there are several residential premises, give their names and indicate the characteristics by which they differ, for example: hut 'living space with a Russian stove'; upper room ‘clean living space’; izba ‘living space with a Russian stove in a five-walled building’; five-wall ‘clean room behind the fifth wall with dutch oven or without oven’; hut ‘part of a living space with a Russian stove’; fence ‘room behind a partition with a bed’; izba ‘a living space heated by a Russian stove or a stove of another (heating) type’; kutya ‘fenced off part with a Russian oven, intended for cooking’; house ‘living space without a Russian stove, in which people live in the summer’; wintering/hut-wintering ‘living quarters with a Russian stove in which they live in winter’, etc.

What do the words mean: a) upper room ‘any room in a multi-room house’, ‘front room’ ‘unheated room for property and sleeping in the summer’...; b) cage ‘an unheated room within a residential building (where?) for property and sleeping in the summer’; ‘a separate unheated building for property and sleeping in the summer’; ‘building for grain storage’…; c) room ‘clean half of the living space (behind the fifth main wall? behind a plank partition? regardless of the type of partition?)’; ‘cold room for storing property, food’; ‘room for sleeping with a bed’…; d) middle ‘separate room near the stove’; ‘a place near the stove, not fenced off from the rest of the hut’...; e) sidewall ‘clean half of the hut’ ‘room behind a partition or curtain with a bed’; ‘winter hut’… f) sholnysha/ shomnysha/ sun ‘part of the hut by the stove (behind the partition)’, ‘front part of the hut’; ‘room like a closet’ (where?)…? Draw a plan of a residential building indicating its parts.

Practical lesson No. 12

Study of vocabulary and semantics based on dialect dictionaries and atlases representing linguistic phenomena in spatial projection using the example of “household utensils”

The concept of “household utensils” includes a wide range of household items: dishes, kitchen utensils, movable furniture, baskets, bags, bags. The “Utensils” section has been developed in particular detail: utensils (o.n.), kitchen utensils, tableware, tea utensils, glassware, tubs, barrels, dishes for various household needs. Many of the objects of interest have their own ethnographic characteristics in different areas. Therefore, it is very important not only to hear what they are called, but also to indicate their purpose, the material from which they are made (clay, metal, wood).

Dishes

Household utensils for preparing, serving food, storing supplies, etc. (o.n.): dishes, ware, ships, courts…

Pottery (o.n.): gornatik, Cherepinina…

a) Kitchen utensils.

Utensils for cooking (cabbage soup, soups): pot, mahonya, sagan, cast iron... Indicate its dimensions, shape, material from which it is made. Give me a drawing.

Small pot for cooking porridge: pot, makhotka, candy…

Clay pot with narrow neck: glöck, glitch

Clay pot braided with birch bark: birch bark, birch bark... Indicate the purpose, give a drawing.

Large cast iron: garnets, cast iron... Specify the purpose.

Clay or metal object used to cover the pot, cast iron: lid, tire…

Utensils with a handle for cooking food, boiling milk: pot, landerak, lady…

Is the word used and in what meanings? coppersmith? Does this word mean: 1) copper basin; 2) a saucepan...?

Enameled (about dishes): watered, whitewashed…

Metal frying pan with curved edges: Patelnya, pan, chapel…

Clay bowl: dish, lettuce, bowl, skull...Give me a drawing.

Clayware for milk (narrow neck without handle or spout): glechik, loudmouth, krinka, jug, kushin, pot...Give me a drawing.

Vessels for churning butter: striker, churn, oiler...Give me a drawing.

Pieces of clay broken dishes: shards…

Metal utensils for storing liquids, shaped like a can without a handle: can, candy, flask...Give me a drawing.

Practical lesson No. 13

Study of vocabulary and semantics based on dialect dictionaries and atlases representing linguistic phenomena in spatial projection using an example »

"household utensils

Dinnerware, teaware.

Tableware (o.n.): dishes…

Round tableware with a flat bottom and raised edges: ticket, bread bowl, chaplashka…

Tableware in the form of a large round plate: saucer, dish, sagan, stavets…

Is the word used and in what meanings? dish. Does this word mean: 1) tea saucer; 2) deep plate...?

Tableware for salt: salt lick, Solnitsa…

Is the word used and in what meanings? SOLANKA? Does it mean: 1) dishes for salt; 2) food

Practical lesson No. 14

Study of vocabulary and semantics based on dialect dictionaries and atlases representing linguistic phenomena in spatial projection using an example peasant clothes, shoes, hats, mittens, jewelry

Clothes (o.n.): twist, twist, twist, okruta, encirclement, twist, skruje, burst, shoveling, shovel, shovel, lopoteshka, putting on, put on, dressing, Odyovina, dressing, girl, clothes, clothes, clothes, paid, wickerwork, payment, pay site, dress, ritual, outfit, ports, shell, wrap yourself around, shell…

Dress: get dressed, get dressed, get dressed, dress, get dressed, bend around, bend around, turn around, cover yourself, wrap yourself around, cover yourself, settle down, turn around, hide, hide, tense up, pounce, dress up, equip yourself, \

Put on clothes: put on, hope, put on, dress, put on shoes, go around, go around, throw on, shell, envelop, envelop…

Getting dressed: odemkoy, dressed, Odemshi…

Wear more than necessary: cuddle, whine, splurge, make fun of, get fucked up, fall asleep…

Wrap up: chow down, wrap yourself up, wrap yourself up, wrap yourself up, get busy, wrap yourself up, have a bite to eat…

Fasten: become shy, button up, button up, get shy, get overwhelmed…

Undress: get carried away, sore elbows, get wet, cover up, get wild, get excited, unwind, spread out, straighten up, hide, catch, seduce, scamper…

Undressing: undressing, undressing, undress, walk around naked, teleshom, with a zigolaika…

Outerwear (o.n.): topman, top, Verkhovik, Verkhovitsa, Verkhoturye, gunya, gunye, gunka, shovel, spade

Practical lesson No. 15

Study of vocabulary and semantics based on dialect dictionaries and atlases representing linguistic phenomena in spatial projection using an example Women's clothing

Women's clothing (o.n.): ranks, rite, ritual, row, in a row…

Is the word used and in what meanings? sak? Does this word mean 1) a long, straight-cut coat with wadding with a fur collar; 2) a long summer coat made of thin linen; 3) a coat at the waist, widened at the bottom; 4) women's short coat; 5) long jacket...?

Is the word used and in what meanings? Shugai? Does this word mean: 1) an elegant jacket with wadding with pleats at the back below the waist; 2) a sheepskin coat; 3) a jacket with long sleeves, sewn at the waist; 4) clothes made of silk with fur trim on the sleeves and collar...?

Jacket: short, short, short, shortness, short, shorty, shorty, short man, shorty, shorty, short…

Long warm (wadding) women's jacket made of plush or velvet: pleating, bun, velvet, velvet…

Is the word used and in what meanings? oversleeve? Does this word mean: 1) a quilted cotton jacket with sleeves; 2) women's clothing such as a jacket with ruching at the waist; 3) a women's jacket, waist-length, with long sleeves, with buttons at the front; 4) sleeves sewn to the sundress; 5) sleeve trim, edging; 6) decorations on the sleeves; 7) an apron with sleeves...?

Short outerwear for women, lined with cotton wool, with a cut-off back and ruching, with long sleeves: bostrock, spanishka, wire rod, while away, short, short, cape, feather, ceiling, dragging, landing, sayar, warmer, yufta…

Sleeveless vest with cotton wool or fur, loose fit: kabat, cadman, while away, short, short, topper, breastplate, shugaika, Sugaian, shugaychik, skimmer…

Sleeveless vest, tight-fitting chest: crimp, swage, crimper, crimp, tight fit, tight fit, clamp, telogrea, car…

Fur trim on clothes: opush, edge, edge

Questions to prepare for the intermediate assessment

1. Key concepts of descriptive dialectology
2.Descriptive and historical dialectology
3. Correlation of the concepts dialect - vernacular - literary language
4.Russian dialectology and historical grammar
5. Basic research methods in dialectology
6. Opposite and non-opposite features of dialects
7.Features of intonation in Russian dialects (characteristic of northern and southern dialects)
8. Percussive vocal systems
9. Changes in the quality of vowels under stress as a result of historical processes
10.Middle-high vowels, features of implementation and origin
11. Unstressed vocalism after hard consonants (types okanya and akanya)
12. Unstressed vocalism after soft consonants (yokan, yak (strong - dissimilative - assimilative-dissimilative), hiccup and hiccup)
13.Features of the consonantal system of Russian dialects
14.Tsokaniye and its varieties
15. The nature of the back lingual (hard and soft) consonants G, K" in southern and northern dialects
16. Reasons for the “weakness” of labial-dental fricatives F and V in Russian dialects
17. Dialect variants of pronunciation of B in strong and weak positions
18. Changes and replacement of smooth sonorants in Russian dialects
19. Complex phonemes Zh"D"Zh" and Ш"T" in northern and southern Russian dialects, the general direction of change and possible options utterances
20. Possible types of assimilation by hardness-softness in Russian dialects
21.Chopping and cutting

Questions for the exam in Russian dialectology

All-Russian Festival

“The Russian language is the national heritage of the peoples of the Russian Federation”

Category: Scientific research

Research work

Dialectisms in literary language

(using the example of tales).

Sayfutdinova Elvina

Sabinsky district, Shemordan village

Scientific supervisor:

and literature

1.Introduction……………………………………………………………………………….3

2.Main part:

2.1. The concept of dialect…………………………………………………...5

2.2.Dialects as part of the vocabulary of the national Russian language……6

2.3.Types of dialects. Classification of dialectisms………………….6

2.4.Features of the dialects of the Ural Cossacks……………………….11

2.5. Dialectisms in literary language (using the example of tales)…………………………………………………………………………………..19

3. Conclusion………………………………………………………………………………25

List of references…………………………………………………………….26

Appendix……………………………………………………………………………….28

Introduction.

The relevance of this study is determined by the fact that the dialectological sphere of language, having direct access to ethnocultural studies, still arouses keen interest of linguists. In conditions when Russian folk dialects are disappearing, and along with them unique facts of the history of the language and the culture of the Russian people as a whole are disappearing, the importance of such works is difficult to overestimate, and over time it will only increase.

The object of the study was dialects of the Russian language.

Our object of study raises an important question about the research boundaries of our object of study.

As you know, the lexical composition is divided into 2 layers: the first layer is general linguistic, such lexemes are familiar and used by the entire group of Russian speakers; the second layer is of a lexical-corporate nature, in particular of a special scientific nature. This group of lexemes is familiar and used by a limited number of people. The peculiarity of dialects is that they belong to the vocabulary of limited use. The scope of our analysis included territorial dialects collected using the method of continuous sampling from skaz.

Dialects have been studied repeatedly in different languages. The scientific novelty of the study is determined by the fact that for the first time dialects of the Russian language became the object of study in Bazhov’s tales from the point of view of typification.

The purpose of our research is to determine how writers find in dialects the means to stylize artistic narration and create speech characteristics of characters. This study will be conducted using the example of Bazhov's tales.

Setting this goal led to the selection of the following tasks:

1) define the concept of dialect;

2) consider dialects as part of the vocabulary of the national Russian language;

3) determine the types of dialects;

4) classify dialectisms;

5) determine the features of the dialects of the Ural Cossacks;

6) analysis of dialectisms in literary language (using the example of skaz - va).

The structure of the work corresponds to the assigned tasks.

Our material was analyzed based on the following methods: descriptive method, historical method, component analysis method.

Dialects and their influence on literature.

The purpose of this study is to determine how writers find in dialects the means to stylize artistic narration and create speech characteristics of characters. This study will be conducted using the example of Bazhov's tales.

2.1. The concept of dialect.

Russian folk dialects, or dialects (gr. dialektos - adverb, dialect), contain a significant number of original folk words, known only in a certain area. Thus, in the south of Russia, a stag is called an ukhvat, a clay pot is called a makhotka, a bench is called an uslon, etc. Dialectisms exist mainly in the oral speech of the peasant population; In an official setting, speakers of dialects usually switch to the common language, the conductors of which are school, radio, television, and literature. The dialects imprinted the original language of the Russian people; in certain features of local dialects, relict forms of Old Russian speech were preserved, which are the most important source for restoring historical processes that once affected our language [Rosenthal, 2002:15].

2.2.Dialects as part of the vocabulary of the national Russian language.

The vocabulary of the Russian language, depending on the nature of its functioning, is divided into two large groups: generally used and limited to the sphere of use. The first group includes words whose use is not limited either by the territory of distribution or by the type of activity of people; it forms the basis of the vocabulary of the Russian language. This includes the names of concepts and phenomena from different areas of society: political, economic, cultural, everyday life, which gives grounds to identify various thematic groups words Moreover, all of them are understandable and accessible to every native speaker and can be used in a wide variety of conditions, without any limitations.

Vocabulary of a limited scope of use is widespread within a certain area or among people united by profession, social characteristics, common interests, pastime, etc. Such words are used mainly in oral irregular speech. However, artistic speech does not refuse to use them [Rosenthal, 2002:14].

2.3.Types of dialects. Classification of dialectisms.

In linguistic literature there is a broad and narrow understanding of dialectism as the main component of dialectology.

1) A broad approach(presented in the linguistic encyclopedia) is characterized by an understanding of dialectisms as linguistic features characteristic of territorial dialects, included in literary speech. Dialectisms stand out in the flow of literary speech as deviations from the norm [Yartseva, 1990: 2]

2) The narrow approach (reflected in the monographs of V. G. Vitvitsky, V. N. Prokhorova) is that dialectisms are dialect words or stable combinations of words used in the language of artistic, journalistic and other works. [Vitvitsky, 1956: 6] [Prokhorova, 1957: 7]

In our work, based on the object of study, we rely on a narrow approach and by the term dialectisms we understand the phonetic, word-formation, morphological, syntactic, semantic and other features of the language reflected in a work of art, inherent in certain dialects in comparison with the literary language.

In linguistics, the question of dialectisms in the composition of the language of a work of art is one of the least studied. Separate works of such scientists as V. N. Prokhorov “Dialectisms in the language of fiction”, E. F. Petrishcheva “Extraliterary vocabulary in modern fiction”, “On the issue of methods of artistic reproduction of folk speech”, O. A Nechaeva “Dialectisms in fiction of Siberia" and others. A number of works are devoted to the analysis of dialect vocabulary in specific works of Russian writers of the 19th – 20th centuries: dialectisms in the works of S. Yesenin, M. Sholokhov, V. Belov, F. Abramov.

In works of fiction, the originality of dialects can be reflected to varying degrees. Depending on what specific features are conveyed in dialect words, they can be classified into four main groups:

1. Words that convey the features of the sound structure of a dialect - phonetic dialectisms.

2. Words that differ in grammatical forms from words in the literary language are morphological dialectisms.

3. Features of the construction of sentences and phrases conveyed in the literary language of a work of art, characteristic of dialects - syntactic dialectisms.

4. Words from the vocabulary of the dialect used in the language of fiction are lexical dialectisms. Such dialectisms are heterogeneous in composition. Among the vocabulary contrasted vocabulary, the following stand out:

a) semantic dialectisms - with the same sound design, such words in the dialect have the opposite literary meaning (homonyms in relation to the literary equivalent);

b) lexical dialectisms with a complete difference in terms of content from the literary word (synonyms in relation to the literary equivalent);

c) lexical dialectisms with partial differences in the morphemic composition of the word (lexical-word-formative dialectisms), in its phonemic and accentological fixation (phonemic and accentological dialectisms).

5. Dictionary non-opposed vocabulary includes dialect words, which are names of local objects and phenomena that do not have absolute synonyms in the literary language and require a detailed definition - so-called ethnographisms.

The above classification of the use of dialectisms in the language of a work of art is conditional, since in some cases dialect words can combine the characteristics of two or more groups [Prokhorova, 1957: 6 - 8]

When dialectisms from oral speech come to the disposal of the writer, he, interspersing them into the language of the literary text, subordinates each dialectal word to the general concept of the work, and this is done not directly, but through methods of narration.

For the original population of villages, dialect (that is, local dialect) is, first of all, native language, which a person masters in early childhood and is organically connected with it. Precisely because articulatory speech skills are formed naturally, they are very strong in everyone. It is possible to rebuild them, but not for everyone and not in everything. [Kogotkov, 1954: 128]

With the help of dialectology data, it is possible to more clearly resolve the issue of the principles of selection of dialectisms by a writer, the manifestation of his artistic taste, awareness in the selection of material for creating images of folk - colloquial speech. Dialectological data helps answer the question of what vocabulary of the dialect the artist prefers to use.

Thus, the processes occurring in the sphere of dialect language as part of the language of a work of art have much in common with the processes characteristic of Russian colloquial speech, the oral variety of the literary language. In this regard, dialectisms represent a rich source for identifying processes and trends in the literary language.

We came to the conclusion that dialects differ from the national national language in various ways - phonetic, morphological, special word usage and completely original words unknown to the literary language. This gives grounds to group dialectisms of the Russian language according to their common characteristics.

Lexical dialectisms are words known only to native speakers of the dialect and have neither phonetic nor word-forming variants outside of it. For example, in southern Russian dialects there are the words buryak (beetroot), tsibulya (onion), gutorit (to speak); in the northern ones - sash (belt), basque (beautiful), golitsy (mittens). In common language, these dialectisms have equivalents that name identical objects and concepts. The presence of such synonyms distinguishes lexical dialectisms from other types of dialect words.

Ethnographic dialectisms are words that name objects known only in a certain area: shanezhki - “pies prepared in a special way”, shingles - “special potato pancakes”, nardek - “watermelon molasses”, manarka - “kind of outerwear", poneva - "a type of skirt", etc. Ethnographisms do not and cannot have synonyms in the common language, since the objects themselves denoted by these words have a local distribution. As a rule, these are household items, clothing, foods, plants and fruits.

Lexico-semantic dialectisms - words that have in the dialect unusual meaning: bridge - “floor in a hut”, lips - “mushrooms of all varieties except white”, shout (to someone) - “to call”, himself - “master, husband”, etc. Such dialectisms act as homonyms for common words used with their inherent meaning in the language.

Phonetic dialectisms are words that have received a special phonetic design in the dialect: tsai (tea), chep (chain) - consequences of “tsokanya” and “chokanya” characteristic of northern dialects; hverma (farm), bamaga (paper), passport (passport), zhist (life).

Derivational dialectisms are words that have received a special affix design in the dialect: peven (rooster), guska (goose), telok (calf), strawberry (strawberry), brotan (brother), shuryak (brother-in-law), darma (free), zavsegda (always) ), otkul (from where), pokeda (for now), evonny (his), ikhniy (theirs), etc.

Morphological dialectisms are forms of inflection not characteristic of the literary language: soft endings for verbs in the 3rd person (to go, to go); ending - am for nouns in the instrumental case of the plural (under the pillars); the ending - e for personal pronouns in the singular genitive case: at me, at you, etc. [Rosenthal, 2002: 15].

2.4. Features of the dialects of the Ural Cossacks.

Ural (Yaik) Cossacks inhabit the right bank regions of the Guryev and Ural regions of present-day Kazakhstan and the Pervomaisky, Ilek, Mustaevsky and Tashlinsky districts of the Orenburg region of Russia. There are transitional, Central Russian dialects here. “Although the language of the Ural Cossacks cannot be called a special dialect,” he says, “they have many special expressions and turns of phrase, and the dialect is so distinctive that you can recognize a Uralian everywhere from the first words.” (“On the adverbs of the Russian language,” 1852. Explanatory dictionary of the living Great Russian language, vol. I, p. 65, M., 1955.).

Until recently, the dialect of the Ural Cossacks and their descendants was distinguished by the unity of all its structural elements. His vocabulary rich and very differentiated. This was facilitated by the fact that the descendants of immigrants and fugitives from different dialect areas Tsarist Russia on the banks of the remote Yaik (now the Ural River) they formed a large closed “half-military, half-fishing community.” They were united here by a commonality of economic (fishing, livestock), socio-legal, national, religious (Old Believers) interests, as well as a life organized along military lines. The Urals were also united by their keenly perceived real linguistic consciousness, which developed over time as a result of the reasons noted above.

Not one of all the Cossack troops of the tsarist era had such distinctive features as the Urals had (the exclusive right to use the riches of the Ural River and the part of the Caspian Sea adjacent to the mouth of the Urals, the hiring, which consisted in the fact that hunters who monetary assistance was paid by the Cossacks who remained at home, and some others). , speaking about the Ural Cossacks, notes: “The Cossack region has its own colorful history, its own special customs, its own types, its own songs, its own way of life.” (“At the Cossacks”, 1900, Pol. sobr. soch., 1914, vol. VI, book 17, p. 220).

The dialect of the Ural Cossacks developed in the first half of the 19th century. He is of the Central Russian type. (See N. Malecha “Ural Cossacks and their dialect”, p. 250).

PHONETIC FEATURES

Among the Uralians, “akanye” of the literary type and moderate “yakanye” (vyasna - visne) are common. Under stress, [a] between soft consonants turns into [e] (apet, kricholi). By analogy, before hard consonants [a] turns into [e] (naredny, bidnegu). As a result of the loss of the pronunciation norm, as opposed to the transition of the stressed [a] to [e], the reverse transition of the phoneme is common<е>V<а>(lyanta, meah, i.e. ribbon, fur). The stressed sound [i] is replaced by the sound [e] (pelut, radial house) both in the roots and in the endings (dried firewood). In some cases, the Old Russian letter “yat” under stress is pronounced as [i] (vmisti, diva). Initial [o] and [a] in the second pre-stressed syllable turn into [i] (itaman, igurtsy, it mine). Being at the absolute beginning in the second pre-stressed syllable, the vowel sound is usually not pronounced (zhivyka, mininy, straga, Fanasiy, lybitsya). Reduction of vowels [a] and [o] in the second prestressed and post-stressed syllables is widely used in the speech of the Ural people, as well as in the literary language (daragoy, npishu, gvrt, lavuk). After soft consonants, instead of etymological [e] and [a], in the second pre-stressed syllable one hears [i] (dli mine, biryagu, misaet). There are other less significant differences in the vocalism of the dialect of the Ural Cossacks.

The consonant system of the dialect has many features. Here [g] is explosive, hard [d], [t], [n] are apical (above, there)4 or even prepalatal. Soft [s"] and [z"] are pronounced with a lisp (s"en', z"ima). For women, the sound [l] is medium (byoa). Loss of intervocalic [in] (kopeck piece, dait karou, kao) is common. Front-lingual soft [d"] and [t"] are replaced by soft [g"] and [k"] (clay, glya, kela, ketch). There is also a reverse replacement: the posterior lingual soft ones are replaced by the anterior lingual soft ones (tino, dikhtar, nalodi). This replacement also applies to hard consonants (krikatash, trakhmal, katars, i.e. knitwear, starch, tatars). Women are characterized by a soft “clack” (dotsin “k”, cysty). The long hissing dull sound (spellings “sch”, “zch”, “sch”) is replaced by a long soft or long lisp [s"]: (vis"s" I, scu or s"s"i, pus"s"yu, i.e. things, cabbage soup, let). Spelling combinations: “zhzh”, “zzh”, “zhd” are pronounced as a long soft lisping sound [z"] or a long soft [z"] (uiz"z"yat, daz"zi). The rearrangement of sounds is very common in the Ural dialect (kyrk - cry, gyldy - look, prolyfka - wire, rotten - clay, etc.).

Characterizing the sound side of the speech of the Urals, many observers note the “agility”, “glimpness”, patter of their speech, abruptness, conciseness, “overlapping” with the initial consonants (rruby, ssama, ggarit, etc.).

MORPHOLOGICAL FEATURES

Noun

In the dialect of the Ural Cossacks there is no neuter gender of nouns; it is replaced by the masculine gender, especially often if the inflection is stressed, or by the feminine gender (your vyadro, fatty meat). These words may be of scientific interest: why one word in the dialect is classified as m.r., and another - as w. r., or is used in two ways: either m.r., or f. r.?

Genus. pad. units including nouns of the first class. ends in -e (it sister, am mother). In III class. in sentence pad. units h. inflection - - e (on piche, on lyshyd), the same in dat. pad. units hours, but less often (to piche). On TV pad. units h. ending - - y (nights).

PATTERNS OF CLOSEMENT OF NOUNS

Masculine Feminine

Singular

(belt) con den sastra weight loss

R. poisu (b) kanya day sistre vessi horses

D. poisu kanyu day sastry vessi horses

V. search kanya den sastru vesu losht

T. let's look in the afternoon

Happy Sastra day to all the horses

P. On pbis n kanyu

N kanyo at the bottom

for days nb s "istre on weight" s" and nb lyshdyo

Plural

I. Pyisya horses days sisters Vissa Lyshydya

R. pyisyof konif dnef

den sisterf vössif lşydey

D. Pyisyam horse days sisters weighty horses

V. pyisya kanoy days sisterf vissa lshydey

T. pyisyami konimi

for several days

during the day, sisters with weighty horses

P. In these days, the sisters of the great horses

In plural h. in them. pad. m.r. inflection - - a (garden, vase) and - (pyis"ya, syrfanya, kus"ya, i.e. belts, sundresses, bushes), the ending - is also used, but less often (karmanya). For nouns of III cl. in them pad. pl. h. ending - - a (with "tipya, mytirya). Nouns have a middle gender in the noun plural inflection - - s (windows, buckets, az"ory).

In the family pl. hours in all types of storage. inflection - of, - yf, - if (nazhof, baushkyf, az"orif, pes"nif).

Among the word-forming elements, the following suffixes can be considered active for nouns: - aik - for the formation of a diminutive - caress. proper names for men and women (m. - Grinyayka, Minyayka, etc., female - Zinayka, Dushayka - Evdokia, etc.); - ak- for the formation of familiar-disdainful. children's own names (Minaka, Sanyaka, Ulyaka, Shuryaka); -ja for education neglected. children's own names, teaser names (m. - Bardzhya, Vandzhya, Kaldzhya - from the names: Boris, Vanya, Kolya, etc.; g. - Andzhya, Irdzhya, Nindzhya - from the names: Anya, Ira, Nina); - dzya - the same thing, only for girls’ names (Raidzia - from Paradise, etc.); - ate (zhidel, gustel, gestel); - en for the formation of a noun. and. r. with an abstract concept based on the attribute (fat, thin, dark, thin, fat, cool, etc.); - ets for the formation of a noun. m.r. with the designation of the nation (Bulgarian, Belarusian); - yoshka for neglect. designations of an object (melon, blouse); - ina with the meaning of an abstract concept based on the attribute (yellow, khorshina); - otherness - the same as - otherness (greatness, height, depth, thinness). The surnames of the Ural residents are typical (Azovskov, Sadovskov, Surskov, Piterskoye, Shiryavskov, etc.)

Prefixes: pro - - with the meaning of incompleteness of quality (overspill, burnout); times- (dis-) - with a quality value of superlatives(housewife, painter, undresser).

Adjective

Adjective names often have contracted forms (mlada, mladu, mlady; bile - whiter); the same phenomenon is observed in pronominal adjectives and ordinal numbers (phtara, kakyo, taku). In the sentence pad. units h.m. and wed. r. often there are forms on - y, - im, - eat (f thin vidre, f kakim gadu, f blue mori), i.e. preposition. pad. matches TV. pad. units h.

When forming adjectives, the suffix - ist - with the meaning of inclination towards something (disciplined, stubborn, i.e. picky, talkative, calculating) is especially productive. The prefix raz- (ras-), (for example, diskind, rasproediny, razmilyi) is also productive. This prefix has the value of maximum quality.

PATTERNS OF DECLINATION OF ADJECTIVES

Hard version Soft version

Singular

M. r. J. b. M. r. J. b.

I. young young with "yin with" yin

R. mladov young s "inv s" iny

D. young young with "yinmu with" yin

V. As I. or R. young as I. or R. sinyu

T. young young with "in blue"

P. young young with "in blue"

Plural

I. m'ladei (s), m'lade s"ini

R. mkhladeh(s) with "inikh

D. m'ladem (s) with "inim"

B as I. or R. as I. or R.

T. mlademi(s) with"ini

P. nb m'ladeh (s) with "inikh"

Pronoun

In the family and wine pad. units Among personal and reflexive pronouns, there are forms with - - i, and with - - e at the end (minya and mine, t"ibya and tibe, s"bya and s"ibe). possessive pronouns my, yours, yours, in the interrogative-relative which, whose and in negative pronouns no one and no one in plural hours in all pads. forms with - e, and not with - and (mae, tvayoh, svayomi, kakyoi, nikekoh, no one's, etc.) - the influence of the pronoun that. Along with the demonstrative pronouns that and et't, the following pronouns are widely used: (vanet (-ът), vanet, vas"et (-ът), vas" ёt, utet (-ът), utet) with differentiated meanings.

In verb forms 3 l. units and many more h. [t] hard. There is a strong desire to unify the basis (magu, mbgsh; empty, empty; sit, pray). Contractual forms are widespread (znash, znat, i.e. you know, knows; dumsh, i.e. you think; pas "pem, pas" peti, i.e. we will be in time, you will be in time; vymysh, washed, i.e. you will wash , will wash). The indefinite form of verbs with stems ending in “g” and “k” ends in - chi, - kchi (lichy, s"tirikchi, talchy). In the past tense, in live speech, forms with - ail, - yoil (ubi-vail) are sometimes still heard , imeyil); they are frequent in folklore.

Participles are formed using the suffixes - mossy and - fshu (drunk, drunk). In past participles they suffer. The suffix - t is often used for the voice, instead of the literary one - n (wounded, p'lamatii).

Pov. incl. 2 l. units h.: ​​(bai, palosh, ni trok, bagriy, gyl "dy or gyly, vyt" (come out), vytti).

Pov. incl. 2 l. pl. h.: ​​(baiti, pa-lbshti, ni trokti, crimson, gyl "diti").

Indefinite form: bat, nes"t and nis"ti, gyl"det, pichy, come out, bagrit.

SAMPLES OF VERB CONJUGATIONS

Present and future simple tense

Unit number 1 person I bayu I think I know how to bagria I will lie down

2nd person bash dumsh umesh bagrish fiction frog

3rd person bat dumt umet bagrit washed lie down

Mn. number 1 person bam dum we know how to bagrim wash our legs

2 face dad think be able to wash wash lie down

3rd person bayut think they can turn purple they will wash out they will lie down

SYNTACTIC FEATURES

Often, the gerund participle (shaber vypimshi) is used as a predicate; instead of the reflexive participle, the non-reflexive participle is used (sit ademgiya). The postpositive particle (ot, tъ, ta) is heard very often in the speech of the Ural people; it has generic and case forms in them. pad. units h. (bread-from, hut-ma), in wine. pad. units h.g. r. (hut) and in them. pl. h. (gus "i-ti).

It can be said that before October Revolution In 1917, dialect speech reigned supreme in the Urals. From 1919 to 1953 there was bilingualism (literary and dialect speech), and since the development of virgin lands (1954), the literary type of the national language seems to significantly predominate in the speech of the Ural people. True, dialect speech continues to reign in many Cossack families to this day. In addition, the Urals are characterized by bilingualism of a different order: many of them are equally proficient in spoken Russian (dialectal or literary, or both) and Kazakh speech, which is especially true of the lower-ranking Ural Cossacks. A senior researcher at the Miklouho-Maclay Research Institute of Ethnography wrote about this bilingualism of the Ural Cossacks on the Amu Darya (the so-called leavers).

Studying the vocabulary wealth of the people is of great importance. After all, the words capture the entire history of a people: social relations, the economic basis of life, their cultural development, the uniqueness of their way of life. Outstanding writers take words from the people's linguistic treasury and enrich the Russian literary language with them. However, the vocabulary of Russian folk dialects has not been sufficiently studied.

2.5. Dialectisms in literary language

(using the example of tales).

There is another unsolved phenomenon: this is the language of Bazhov’s tales, which is called simple, colloquial, Uralic. It is often added that grandfather Slyshko spoke this language. However, the dual nature of the tale is deceptive: the narration on behalf of the democratic narrator is in fact constructed by a professional writer. And grandfather Slyshko himself is an author’s creation, an artistic image that has absorbed certain features from the life of a Polevsky resident of the late 19th century, Vasily Alekseevich Khmelinin. Neither the conventional nor the real grandfather Slyshko, of course, could have harmonized such diverse resources of the literary language. The expediency and measure of their use are determined by Bazhov himself, unnoticed by the reader.

In the writer’s language laboratory, let’s highlight the simplest thing: lexical categories. Let us name the individual functions of the Russian verb, which in Bazhov’s works serves as a means of conveying changeable psychological state hero. At an unexpected meeting with a boy in whom “greed is not visible,” the successful prospector Nikita Zhabrey in the tale “Zhabreyev Walker” “throws” Deniska a whole handful of candies, and then “several silver rubles”; “I was surprised” when Deniska did not pick up either one or the other; “got excited”, “roared at the other kids”; “snatched a pack from his bosom big money and grab them in front of Deniska”; “I lost myself from such words: he stood there, staring at Denisk. Then he reached behind his boot with his hand, pulled out a rag, turned out a nugget - about five pounds, they say - and grabbed this nugget at Denis’s feet”; “I came to my senses, ran up, picked up the money and the nugget”; Nikita is offended that the boy reproached him and kept silent”; finally, “he tells him quietly so that others don’t hear”; “they talked and went their separate ways...” In its expressive form, the verb, close to vulgarisms, has a satirical function: the fat gentleman apparently beeped money in San Petersburg”; The German master of decorated weapons was really fussing and fucking about everything here.” “Relatively outdated” words, which Bazhov carefully selected, create the impression of temporary remoteness: “once a hitnik got into her”; “You just have to figure it out yourself, Semenych”; “I took some soft bread out of my bag and tore it into pieces”; in “Ermakov’s Swans,” where the action dates back to the end of the 16th century, he considers it appropriate to use words denoting objects and occupations that have become a thing of the past: “plows,” “ringed shirt,” “tsar’s armored men,” “spearman” (a warrior armed with a spear). At the same time, he resolutely does not accept the verbs “let’s take a chance” and “let’s push”, proposed by the authors of the script for the film “Ermakov’s Swans”. Single lexical dialectisms are natural in the speech of the Ural old-timer: “I lost my health”; “a little girl is sitting on a little pot by the stove”; “Here Fedyunya put on some knickers and pulled his windbreaker fur coat tighter with the hem.”

In a language that is as close as possible to colloquial folk speech, stable folklore and poetic phrases are natural: “the bright day will make you happy, and the dark night will make you happy, and the red sun will make you happy.” In the enumeration of the “inheritance” inherited by Ilya, the rhythms of the rayoshnik, a Russian colloquial verse, are easily distinguishable: “from the father - hands and shoulders, from the mother teeth and speeches, from grandfather Ignat - a pickle and a shovel, from grandmother Lukerya a special wake.” Bazhov is free to use production vocabulary. The names of minerals, tools, designations of production processes are not relegated to interlinear, but explain the characters and destinies of the characters: Danilushka has a ready answer to all the clerk’s questions: how to stone a stone, how to saw it, remove a chamfer, when to glue it, how to apply color, how plant it on copper like on a tree”; “Then he took the ballodka, and when he gasped at the dope flower, it just sank.”

Preserving accurate everyday and industrial details, Bazhov accompanies “The Malachite Box” with a detailed “Explanation of individual words, concepts and expressions found in tales.” But, let’s be honest, few people look into the author’s commentary except specialist linguists, historians, folklorists, and researchers of folk culture. For the reader, everything is explained by the context itself. Let's look at some of them:

Butorovy. Slurring, muttering. “Vakhonya is a heavy man, a beard up to the navel, straight shoulders, a scary fist to look at, a bearish leg, and a butorous conversation” (Sun Stone).

Don't bother. Repeat, repeat the same thing, mumble. “When he talks for half an hour, and he shakes his head and waves his arms” (Cockroach Soap).

Lotto. Mumble, speak incomprehensibly to others, chatter. “Koltov’s wife grabbed him by the shoulder with her hand, patted him on the sly, chatted with the gentlemen, but you couldn’t tell what he was talking about” (Markov Stone).

Idle talk. Empty words. “The mining authorities, perhaps, did not understand half of that German idle talk, but only thought to themselves: since this German was sent from the higher authorities, they couldn’t contradict him” (Cockroach Soap).

Listen up. Introductory meaning: listen, understand. “Hey, you should run to Ogafya.” The contents of the book “The Malachite Box” in the first edition (1939) were based on the poetic stories of an old field worker, nicknamed “Slyshko”, for his passion for this saying.

Snort. Grumble, swear, swear. “He runs as if scalded, snorting to himself: “Is this a girl?” (, Malachite box).

Bad words. Soromskie, obscene words. “I had to observe a similar disguise with “bad words” from the Sysert songwriter-improviser. Usually modest in everyday life and “restrained in speech,” he was always deliberately rude in his song improvisations dedicated to the master, factory management or priests” (At the Old Mine).

Let's group the dialects used by type:

Ethnographic (“vitushka” is a type of roll with ends woven in the middle, “balodka” is a one-handed hammer, “zavoznya” is a type of outbuilding with a wide entrance so that carts, sleighs, etc. can be brought there for storage, “zaplot” - a fence made of poles or logs (single-cut), tightly laid between the posts, “dam” - a pole or single-cut taken from the fence, “butts, butts” - a type of leather shoes);

Lexical (“sleeve” - bracelet, “cufflink, cufflink” - apron, apron, “heater” - sauna stove, with a pile of stones on top, water is splashed on them, “steam falls”, “soft stone” - talc);

Phonetic (“artut” - mercury, “golk” - hum, noise, echo, “diomid” - dynamite, “obui” - noun m. r. - shoes);

Derivatives (“listvyanka” - larch, “grabastenky” - robber);

Morphological (“interfere” - interferes, “blows” - blows, “knows” - knows).

We will define borrowed dialects as a separate group:

“Aida, aida-ko” - from Tatar. It was used quite often in factory life in various meanings: 1) go, come; 2) let's go, let's go; 3) let's go, let's go.

“Ashat” (Bashkir) – eat, take food.

"Bergal" is a reworking of the German bergauer (mining worker). The narrator used this word in the sense of a senior worker to whom a group of teenage skaters was subordinate.

“Elan, elanka” is a grassy clearing in the forest (probably from the Bashkir - clearing, bare place).

“Kalym” - bride price (among the Bashkirs).

It is impossible not to highlight a group of dialects that reflect the history of the people:

“Azov, Azov Mountain” - in the Middle Urals, 70 kilometers to the southwest. from Sverdlovsk, height 564 meters. The mountain is covered with forest; at the top there is a large stone from which the surroundings are clearly visible (25-30 kilometers). There is a cave in the mountain with a collapsed entrance. In the 17th century, here, past Azov, there was a “path” along which the “transfers of governors” took place from Turinsk to Ufa, through the Chinese fort.

Bazhov, a “concise speaker,” as they wrote about him back in the 20s, valued the completeness and naturalness of Russian speech. He did not recognize purified literary language, but was wary of unjustified neologisms, which he did not approve of even in Leskov; drove out bureaucracy, from which he had been turned away by the villagers’ letters to the “Peasant Newspaper”; did not allow lexical repetitions, looked for a non-standard word in live dialogue, in dictionaries, in books. It was truly a work of jewelry, but almost unexplored by stylists and lexicologists. It remains to add that the language of Bazhov’s tales is an unplowed field where everyone who values ​​the richest Russian speech can find their own corner.

Conclusion

During the study, we came to the following conclusions:

1) in tales, dialectisms reflect the worldview of the people, their national and cultural specifics;

2) analysis of dialects of the Russian language can be focused on reconstructing the process of interaction between different ethnic cultures;

3) ethnographic analysis showed how the language in different forms of its existence, at different stages of its history reflected and reflects the history of the people;

4) language at all its levels should be considered as an ethnocultural phenomenon.

List of used literature.

1. Avanesov dictionary of the Russian language.

2. Avanesov of Russian dialectology. - M., 1949.

3. Bazhov tales. - M.: Pravda, 1988.

4. Blinov’s works of art as a source of dialect lexicography. – Tyumen, 1985.

5. Vetvitsky as a means of creating local color in the novel “Quiet Don”. – Leningrad State University, 1956.

6.Ilyinsky work at Kamchatka State University named after Vitus Bering//Bulletin of KRAUNC. Humanities. -2008-No. 1.

7. Karpov of words, synonyms and expressions used by the Ural Cossacks. - Uralsk, 1913.

8. Karpov. Historical sketch. - Uralsk, 1911.

9. Karpov of words, synonyms and expressions used by the Ural Cossacks. - Uralsk, 1909.

10. Kasatkin dialectology. – M.: Academy, 2005.

11. Kogotkova about words. – M.: Nauka, 1984.

12. Among the Cossacks. Full collection op. - P., 1914. - T. VI, book 17.

13. Korsunov village in the Urals. - 1959.

14. Prokhorov in the language of fiction. – Moscow, 1957.

15. “Malachite box” in the literature of the 30-40s. – 1998.

16. Slobozhaninova - ancient testaments. – 2000.

17. Language of works of art. Sat. articles. – Omsk, 1966.

18. Yartseva encyclopedic dictionary. – M.: Soviet Encyclopedia, 1990.

In artistic speech, dialectisms perform important stylistic functions: they help convey local flavor, the peculiarities of the characters’ speech, and finally, dialect vocabulary can be a source of speech expression.

The use of dialectisms in Russian fiction has its own history. Poetics of the 18th century. allowed dialect vocabulary only in low genres, mainly in comedy; dialectisms were a distinctive feature of the characters’ non-literary, predominantly peasant speech. At the same time, dialect features of various dialects were often mixed in the speech of one character.

Sentimentalist writers, prejudiced against coarse, “peasant” language, protected their style from dialect vocabulary.

Interest in dialectisms was caused by the desire of realist writers to truthfully reflect the life of the people, to convey the “common” flavor. Dialect sources were consulted by I. A. Krylov,

A. S. Pushkin, N. V. Gogol, N. A. Nekrasov, I. S. Turgenev, L. N. Tolstoy and others. In Turgenev, for example, words from the Oryol and Tula dialects are often found ( highway, talk, poneva, potion, wave, healer, boo etc.). Writers of the 19th century used dialectisms that corresponded to their aesthetic attitudes. This does not mean that only some poeticized dialect words were allowed into the literary language. Stylistically, the use of reduced dialect vocabulary could have been justified. For example: As if on purpose, the peasants met, all shabby(T.) - here dialectism with a negative emotional expressive connotation in the context is combined with other reduced vocabulary ( the willow trees stood like beggars in rags; the peasants rode on bad nags).

Modern writers also use dialectisms when describing rural life, landscapes, and when conveying the characters’ speech pattern. Skillfully introduced dialect words are a grateful means of speech expression.

It is necessary to distinguish, on the one hand, the “quotational” use of dialectisms when they are present in the context as a different style element, and, on the other hand, their use on equal terms with the vocabulary of the literary language, with which dialectisms should stylistically merge.

When using dialecticisms in quotation terms, it is important to maintain a sense of proportion and remember that the language of the work must be understandable to the reader. For example: All evenings, and even nights, they sit[guys] ogonchikov, in local parlance, bake opalihi, that is, potatoes(Abr.) - such use of dialectisms is stylistically justified. When assessing the aesthetic meaning of dialect vocabulary, one should proceed from its internal motivation and organic nature in the context. The mere presence of dialectisms cannot yet indicate a realistic reflection of local color. As A. M. Gorky rightly emphasized, “everyday life needs to be laid in the foundation, and not stuck on the facade. Local flavor is not in the use of words: taiga, zaimka, shanga - He must stick out from the inside.”

A more complex problem is the use of dialectisms along with literary vocabulary as stylistically unambiguous speech means. In this case, a passion for dialectisms can lead to clogging of the language of the work. For example: Everything is amazing and captivating; Belozor swam in the distance; The slope with the screw is ant- such an introduction of dialectisms obscures the meaning.

When determining the aesthetic value of dialectisms in artistic speech, one should take into account what words the author chooses. Based on the requirement of accessibility and understandability of the text, the use of dialectisms that do not require additional explanation and are understandable in context is usually noted as proof of the writer’s skill. Therefore, writers often conditionally reflect the features of the local dialect, using several characteristic dialect words. As a result of this approach, dialectisms that have become widespread in fiction often become “all-Russian”, having lost connection with a specific folk dialect. The appeal of writers to the dialecticisms of this circle is no longer perceived by the modern reader as an expression of the author’s individual manner; it becomes a kind of literary cliche.

Writers should go beyond “interdialectal” vocabulary and strive for non-standard use of dialectisms. An example of a creative solution to this problem can be the prose of V. M. Shukshin. There are no incomprehensible dialect words in his works, but the speech of the heroes is always original and folk. For example, vivid expression distinguishes dialectisms in the story “How the Old Man Died”:

Yegor stood on the stove and put his hands under the old man.

• - Hold on to my neck... That's it! How light it has become!..
• - I threw up...<...>
• - I’ll come by in the evening and check on you.<...>
• “Don’t eat, that’s weakness,” the old woman remarked. - Maybe we'll pull the trigger -

Shall I make some broth? It's delicious when it's fresh... Eh?<...>

• - No need. And we won’t eat, but we’ll decide to eat.<...>
• - At least don’t fuss now!.. He’s standing there with one foot, and he’s making some noise.<...>Are you really dying, or what? Maybe it’s oklema-issya.<...>
• “Agnusha,” he said with difficulty, “forgive me... I was a little alarmed...

The processes of increasing spread of the literary language and the extinction of dialects, characteristic of our historical era, are manifested in the reduction of lexical dialectisms in literary speech.

• Gorky M. Collection. cit.: In 30 volumes - T. 29. - P. 303.
• See: Kalinin A.V. Culture of the Russian word. - M., 1984. - P. 83.