What are the specifics of the language of some works of modern literature. Artistic style: what it is, examples, genres, linguistic means

1.1 Style features fiction

Artistic speech is a special style of speech, historically developed in the system of the English literary language, which has a number of common features, also historically variable, and a wide variety of particular features, changing depending on the forms of manifestation of this style (substyle), on the era, on the individual manner of the author.

The style of artistic speech is a complex unity of heterogeneous features that distinguish this style from all other styles of modern English literary language. The fact that this style allows the use of elements of other styles, although processed according to the general, typical features of this style, puts it in a somewhat special position in relation to other speech styles. Moreover, the style of artistic speech allows the use of such elements of language that at this stage development literary norm languages ​​are unacceptable. Thus, in the language of artistic works of modern English writers one can find linguistic facts that go beyond the norms of the literary language, for example, jargon, vulgarisms, dialectisms, etc. True, these elements in the style of artistic speech appear in a processed, typified, selected form. They are not used here in their, so to speak, natural form; such use of non-literary words would clog the language and would not contribute to the enrichment and development of the literary norm of the language.

“In fiction,” writes academician. V.V. Vinogradov, - a popular, national language with all its grammatical originality, with all the richness and diversity of its vocabulary, is used as a means and as a form of artistic creativity. In other words, all the elements, all the qualities and features of the national language, including its grammatical structure, its vocabulary, its system of meanings, its semantics, serve here as a means of artistic generalized reproduction and illumination social reality"[Vinogradov 1951]

Thus, the main function of the style of artistic speech is, through the use of linguistic and specific stylistic means, to promote, accordingly, the author’s intention and a deeper disclosure to the reader. internal reasons conditions of existence, development or death of one or another fact of this reality. What are the means of artistic speech style with the help of which this goal is realized? These means are the “figurative-aesthetic transformation” of the national language.

System of stylistic means English language greatly enriched in the journalistic style, especially in the oratorical style, and continues to be enriched in the style of artistic speech. It is no coincidence that the main stylistic means languages ​​were studied in literary theory.

The style of artistic speech, sometimes called poetic language, is primarily characterized by imagery. The image created by various linguistic means causes sensory perception reality and, thereby, contributes to the creation of the desired effect and reaction to what is said.

The style of artistic speech has the following varieties: poetic speech, artistic prose and the language of drama. When we use the term “style of artistic speech,” we mean purely linguistic categories, such as words, their meanings, their combinations, syntactic structures, the nature of imagery and other features of the language, specific from the point of view of their selection and interdependence in a given speech style. The term “poetry,” which often combines the concepts of poetic speech, artistic prose and drama, is much broader. This is a literary term. It is understood not only as the language of works of art in its relation to the expressed content, but most importantly, as a type of art. When reading the statements of revolutionary democrats and Russian classic writers about poetry, it is necessary to remember that the term “poetry” is used in a very broad sense. This becomes especially obvious if we quote the following statement by V. G. Belinsky about poetry:

“What is poetry? - you ask, wanting to quickly hear the solution to a question that is interesting to you, or, perhaps, slyly wanting to embarrass us from the consciousness of our powerlessness to solve such an important and difficult question... One or the other is all the same; but before we answer you, we’ll ask you a question in turn. Tell me: what do we call the difference between a person’s face and a wax figure, which the more skillfully made, the more similar it is to the face of a living person, the more it arouses disgust in us? Tell me: what is the difference between the face of a living person and the face of a dead person? ... The point is clear: in the former there is life, but in the latter there is none.” [Belinsky, Collection. op., 1948: t 1. 634]

In the course of linguistic stylistics, we are naturally only interested in the linguistic side of poetry, which we call the style of artistic speech.

So, the most essential characteristic of this style of speech is imagery. Along with a purely logical way of expressing thoughts, in which words are used in their subject-logical meanings, in the style of artistic speech one often encounters different shades meanings: contextual meanings, emotional meanings of words - conductors of the author’s subjective evaluative views. O. Walzel is to some extent right when he asserts that “the word is a means of purely logical, i.e., scientific expression. Poetry, as a verbal art, must use the word, that is, a means that always remains to a certain extent related to expression in concepts. Only insofar as words affect us sensually is poetry an art. The artistic appearance of a poetic work is created from the auditory impact of words and then from all the sensory ideas evoked by the word.” [Walzel 1928: 3]

The features of the language of fiction as a whole are determined by several factors. It is characterized by broad metaphoricality, imagery of linguistic units of almost all levels, the use of synonyms of all types, polysemy, and different stylistic layers of vocabulary is observed. “All means, including neutral ones, are called upon here to serve the expression of the system of images, the poetic thought of the artist.” The artistic style (compared to other functional styles) has its own laws of word perception. The meaning of a word is largely determined by the author’s goal setting, genre and compositional features of the work of art of which this word is an element: firstly, in the context of a given literary work it can acquire artistic ambiguity not recorded in dictionaries; secondly, it retains its connection with the ideological and aesthetic system of this work and is assessed by us as beautiful or ugly, sublime or base, tragic or comic

The use of linguistic means in fiction is ultimately subordinated to the author's intention, the content of the work, the creation of an image and the impact through it on the addressee. Writers in their works proceed, first of all, from accurately conveying thoughts and feelings, truthfully revealing the spiritual world of the hero, and realistically recreating language and image. Not only the normative facts of language, but also deviations from general literary norms are subject to the author's intention and the desire for artistic truth.

However, any deviation from the norm must be justified by the author’s goal setting, the context of the work; the use of one or another linguistic device in fiction must be aesthetically motivated. If linguistic elements located outside the literary language perform a certain functional load, their use in the verbal fabric of a work of art can be justified [Kozhina 1983].

Comic effect. Let's take a closer look at individual aspects colloquial speech. Studying styles To identify the frequency of figurative expressive means in various functional styles of the Russian language, we will consider examples of texts of each style separately and analyze them. The analysis consists of identifying tropes and figures in all styles and comparing their number in relation to...

Not only the presentation of a fairy-tale picture of the world, for which magic is the ontological core, but also a special linguistic stylization of the text itself, its surface structure. Integrated approach to solve this problem is presented in the fundamental work of M.M. Lipovetsky "The Poetics of a Literary Fairy Tale" [Lipovetsky, 1992]. For him, the problem of the relationship between drugs and NS, as well as the problem...

Artistic language, being designed for perception and understanding against the backdrop of a common, national language, differs from it in that the reality of the language of a work of art is the reality of an integral artistic world, as a result of which the linguistic and extra-linguistic (substantive) aspects of a work of art are welded together much more firmly, than in other functional styles. Therefore, the patterns of constructing artistic language are explained not by grammatical and syntactic rules, but by the rules of constructing meaning. The language with its direct meanings is, as it were, completely overturned into the theme and idea of ​​the artistic concept. Thus, the semantic duality of artistic language arises as a result of the collision of the objective meaning of words

with their subjective semantic orientation. This explains the appearance of additional meanings that “seem to shine through the direct meanings of words in poetic language” (Vinokur).

3. “Image of the author” as a substitute for the speech genre in a work of fiction

The speech genre in a prose work is personified. Unlike the communicative process in non-fictional functional styles, where real people act as communicants and the communicative process itself is single-layered, in a work of art the communicative process is two-layered: one communicative layer is formed by fictional communicants, they are part of the work of art. The other layer is formed by the real author-writer and the real reading public. Since the world depicted in the work is fictitious, made up, the communication system in the work is also fictitious, invented by the writer in order to make the content of the work reliable, alive, and create the illusion of real communication. Therefore, fictitious communicants in a work of art are not the real author and the real reader, but the creation of the writer - the “image of the author” and the “image of the reader.” In this sense, “speech genre,” being an abstract category, in a work of art acquires concreteness due to the invented communicants that specify the communicative process. In turn, the plot and images of the characters are already a product of the “image of the author-narrator,” and not the real author. In a prose work, someone must tell about the event. This “someone” is the substitute for the real writer in the work - “the image of the author-narrator.” When reading a work, the reader has an idea of ​​both the characters, who reveal themselves in direct speech, and the author-narrator, who reveals himself in the author’s speech. Every statement has its own author, there is no speech that is not spoken by anyone, it is always tied to the subject of speech, the speaker or the writer. Such a subject of speech in a work of fiction and prose is the “about-

times the author-narrator." The reader develops an idea of ​​the narrator even when he is not named in the work and is not characterized in any way. Even in the most objective narration there is an "image of the author", because this objectivity is nothing more than a special construction, a special construction of the “image of the author-narrator”.

The “image of the author” is an image of a special type, different from other images of the work. It is the creation of a real writer and is connected dialectically with him, for the writer’s creativity is concrete. The Creator is always depicted in his creation. Therefore, there are objective reasons for mixing these concepts: the creator of the work is a real person, but the specificity of prose is such that someone must tell a novel, short story, or short story. Therefore, the writer’s personality recedes into the background, and his role in the work is transferred to the narrator, who recreates events and destinies.

The “image of the author-narrator” is organically connected with the correlative category of the reader. The reader is not the actual public that turned out to be the reading mass of a given writer, but something created by him - the “image of the reader.” The character of the reader, the nature of communication and forms of contact with him determine the structure of the artistic narrative.

The inner world and thinking of each person has its own stable social audience, in the atmosphere of which his internal arguments, internal motives, assessments, etc. are built. Speech is always focused on the interlocutor. It is a product of the relationship between the speaker and the listener. Any utterance is constructed between two socially organized people, and if there is no real interlocutor, then he is assumed to be a normal representative of the social group to which the speaker belongs.

From the outside- this is a certain speech organization of the work, behind which the “face” of the narrator shines through in all aspects of its functioning.

The typology of author-narrators is similar to the classification of speech genres in non-fiction styles. There are three main types of author-narrators in a prose work: 1) “autorial author-narrator” in the form “he” (Er-Erzähler); 2) “personal author-narrator” in the form of “I” (Ich-Erzähler), or in the form of a character in the work, but speaking on behalf of “I”; 3) “personalized author-narrator,” the so-called “narrator designated (by some name).” Within the boundaries of these types of author-narrators, there are various transitional forms.

1) Auditorial author-narrator in the form of "he" is outside the action of the work, outside the world of the content of the narrative, he stands above this world. How the reader sees him depends on the role he plays - a historian-chronicler, an objective publisher, an erudite writer or an ignorant graphomaniac. The author-narrator in the “he” form can simply narrate the story objectively, limiting himself to comments. Or maybe interfere with it. In the case when the author-narrator in the form of “he” seems to disappear from the narrative, hiding behind the heroes of the work, he nevertheless exists, but acts in the most objective roles: observer, reporter, director, etc. The narrative looks like this faceless cases. Most often these are silent scenes, detailed, filmed as if in close-up. Language, as a rule, in such a narrative form is a specially processed literary language that has the structure of speech of the script genre.

Often the narrator in the form of “he” is identified with a personal narrator, in which case the use of “he” serves to emphasize the fact that the narrator is outside the action, outside the depicted world. But his personality manifests itself in language, in the sense of his social or some other characteristic. The author in the form “he” can act in different roles.

2) Personal author-narrator in the form of "I" very diverse. From this diversity, two main forms of such a narrator should be distinguished - subjective and objective. For subjective The narrator's form is characterized by greater individualization, a greater degree of sensation of the presence of a living individual person. The personal subjective narrator creates the illusion of the absence of a narrator, the absence of narration; he shows, represents, depicts. Most often, such a narrator in the form of “I” acts either as an eyewitness or as a confidant of the hero, less often as an actor. In this case, the reader’s position also changes: he either directly perceives the world, without the guiding and commentary help of the narrator, or he looks at everything through the eyes of the hero, taking part in the feelings and thoughts of the hero. Often this form is associated not with the narration of any event, but with the expression of a person’s state, mood, and experiences. The narrator in the form of "I" can combine two functions - actor and the narrator. This form is widely used in autobiographical and confessional novels. In such narratives, all the accompanying social and characterological features of the narrator are presented most fully. In such cases, the “I” brings with it all sorts of introductory words, reservations, parentheses, because he speaks openly for the heroes on his own behalf, and here, in order for the author’s knowledge of the hidden life of the heroes to be plausible, one cannot help but stipulate that, they say, you, the author, seem to think, you are convinced, but, however, I’m not sure, although you can guess and, as I later found out, it was confirmed, etc., etc. in that spirit.

A personal narrator often creates a very detailed narrative, focusing on details. It can also approach either an auditorial or an objective narrative in the form of the self.

Objective form the narrator in the form of “I” is close to the auditorial one. Such a narrator, like an auditory one, is located outside or on the periphery of the event and is content with the role of a correspondent, observer, witness. Events described by an objective narrator in the form

“he” acquire illumination from the outside, and the events described by the objective narrator in the form of “I” - from the inside.

Writers often use both the subjective and objective forms of the personal author-narrator in different parts of the narrative in the same work.

Between the two forms of a personal narrator - objective and subjective - are their various modifications. Thus, the narrator in the form of “I” exists in tales, letters, memoirs, autobiographies, and confessions.

As examples of these narrators, the following can be cited: in T. Mann's novel "Doctor Faustus" the narrator Serenus Zeitblom is inserted. In M. Frisch's novel "Stiller" in the first part the narration is told on behalf of the hero, in the second - on behalf of one of his friends. In Strittmater's novel Tinko, the story is narrated by the boy Tinko. In the same writer's novel "Ole Binkopp" the narrative is of a clearly subjective nature. Although the narrator speaks in the form of “he,” the complete impression is created that this is one of the characters in the novel, and sometimes he directly addresses the heroes of the novel, i.e. interferes in their lives, forgetting that he tells the reader everything.

Regarding structural organization“the image of the author-narrator”, then it is due to the diversity of this phenomenon and its scattered nature in the work. There are three types of organization of the “image of the author-narrator”: 1) the “image of the author-narrator” represents a single point of view throughout the entire work; 2) the “image of the author-narrator” in the work is one, but splits into different “faces” in the process of narration, and 3) the “image of the author-narrator” represents a plurality of narrators, where each image expresses its own point of view, its attitude towards what is depicted. The testimony of S. Maugham is interesting in this regard: “It is possible that in every

Among us there are several individuals mixed together that exclude each other, but the writer, the artist clearly senses this. For other people, due to their lifestyle, one side or the other outweighs, and all the others disappear or are pushed far into the subconscious.... a writer is not one person, but many. That is why he can create many, his talent is measured by the number of hypostases that he includes... The writer does not sympathize, he feels for others. He feels not sympathy, but what psychologists call empathy, it seems that Goethe was the first among writers to realize his diversity..."

Language is the “primary element of literature.” Language exists in life independently of literature, but depending on its specific features, it acquires special properties that allow us to speak of the “language of fiction” (or a similar meaning of “poetic language”127). Literary studies more often operate with the term artistic speech, which is understood as one of the aspects of the meaningful form.

Any literary work uses a special, “poetic language”, and “... the charm of paintings and images infects every person, no matter what stage of development he is at”128. Poetic language, or the language of fiction, is one of most important languages spiritual culture along with the language of religion and the language of science. This is the language of verbal art. Poetic language is open, that is, it is constantly focused on searching for new expressive possibilities,

it has a focus on conscious and active “language creation”129. G.O. Vinokur calls the language of fiction “figurative language”130.

Poetic language is the result creative activity many word artists. Originality poetic language depends on its genre. A writer, in search of new means of representation, may violate language norms. Poetic language of the late 20th century. differs from the poetic language of the late 19th century.

Poetic vocabulary considers “the question of the choice of individual words included in artistic speech”131. A.A. Potebnya noted the inextricable connection between literary criticism and linguistics in Russian philology. According to his theory, “initially, every word consists of three elements: external form (i.e., the sound shell), meaning and internal form,”132 which are needed to create a verbal image. The symbolists extremely intensified their interest in the envelope of the word, in what they called its musicality; they brought suggestive (emotionally affecting the reader) words to the fore. Both symbolists and futurists set themselves the task of creating a new poetic language.

Philologists distinguish between speech and language. “Language is that stock of words and those grammatical principles of their combination in a sentence that live in the minds of people of a particular nationality and with the help of which these people can always communicate with each other. Speech is language in action, it is the very process of verbal communication between people, which always arises in certain conditions of life and consists in the expression of certain thoughts, colored by certain feelings and aspirations”133.

Choice of words and syntactic constructions depends on the characteristics of their emotional and mental content. The speech of oratory speeches, office documents, and philosophical works differs from the speech of artistic works.

The speech of works of art has its own peculiarities. The main properties of artistic speech are imagery, allegory, emotionality, and author's originality. Its originality is determined by the tasks facing writers and poets who study human life in its various manifestations. They can use various language styles: scientific, business, colloquial, intimate speech, etc.; this is motivated by the fact that a work of art depicts one or another area of ​​life.

Of great importance is the principle of reflecting life in works - realistic, romantic, etc. The development of realism in Russia in early XIX V. opened new doors for literature creative possibilities. The heroes of Griboyedov, Pushkin, Gogol spoke in a language corresponding to their social status, for “language is also motivated by the fact that it is associated with its specific speaker, conveys the originality of a person’s personality, expressed in the originality of speech”134.

Poetic language plays big role in the formation of the writer’s style, which is expressed in vocabulary and in the intonation-syntactic organization of speech. Prose A.S. Pushkin and the prose of L.N. Tolstoy - sharply different artistic and individual structures.

The question of the properties of artistic speech was hotly discussed in the works of A.A. Potebnya, A.N. Veselovsky, P.O. Yakobson, B.V. Tomashevsky, G.O. Vinokura,

V.V. Vinogradova. Along with scientists, poets and writers took part in the discussion of this problem (V.

Shklovsky, Yu. Tynyanov, B. Pasternak, O. Mandelstam, etc.) - Subsequently, this work continued in the works of B.M. Eikhenbaum, A.Ya. Ginzburg, A.I. Timofeeva, M.L. Gasparova, V.G. Grigoriev and many others.

The writers' dictionary is a manifestation of the richness of the language in which they wrote, evidence of a deep knowledge of this language and linguistic talent. To create artistic images, literature primarily uses figurative and expressive means available in the dictionary and in stable figures of speech characteristic of a given language. The vocabulary of a language is called its vocabulary, and its stable phrases are called phraseology. The choice of words and phrases is the most important aspect of a writer’s work on the language of a work. And difficult. V. Mayakovsky admitted: “You exhaust a single word for the sake of a thousand tons of verbal ore...”.

Of all lexical means, synonyms have the greatest stylistic potential (synonimos - eponymous). They are divided into ideographic, i.e., differing only in meaning (horse - horse - mare - stallion) and stylistic, i.e., differing in stylistic and emotional coloring (eat - eat - crack).

The elements that make up a language - linguistic units - act as a means of expressing certain content and may not be used as linguistic artistic means. Due to the variety of meanings and emotional-expressive coloring, linguistic means contain the possibility of their purposeful use, designed for a certain impact on the reader and listener. Usually these possibilities are called stylistic possibilities of linguistic means.

To solve complex artistic problems, polysemy, or polysemy (Greek poly - many, sema - sign) of a word can be used.

By choosing a single word from a number of identical or very similar words or resorting to stringing together synonyms, the artist achieves vivid imagery and extreme precision of expression. The writer, replacing one word with another, achieves the most accurate transmission of meaning. So, M.Yu. Lermontov, in the draft of the poem “The Death of a Poet,” called Dantes first an “enemy” and then a “murderer,” defining the role he played in the duel with Pushkin. Synonyms give one or another emotional and stylistic coloring to the statement. For example, the word “face” is stylistically neutral, while “face” has a connotation of solemnity:

But a glimpse of light is astonishing

Her face has an unusual expression.

(E. Baratynsky)

You turn your face when you mention him,

And the blood rises to your forehead...

(A.K. Tolstoy)

The word “eyes” is also stylistically neutral, and the word “eyes” has a connotation of tenderness and solemnity (this is a book word, Slavicism):

A tribute to your eyes and hearts, a living song to you lyres

And the trembling babble of shy praise!

(P. Vyazemsky)

And he sang about clear eyes.

About the eyes of a girl-soul.

(F. Glinka)

Mastery of synonyms helps the writer avoid repeating the same words and diversify his speech. For example, in Gogol’s “ Dead souls“Sobakevich... settled down to the sturgeon and in a little over a quarter of an hour he finished it all. Having finished the sturgeon, Sobakevich sat down in a chair and blinked his eyes.

Antonyms—words that are opposite in meaning—give greater expressiveness to artistic speech. With their help, the author can contrast the depicted characters, phenomena, events:

You are powerful too.

You are also powerless.

Mother Russia!

(NA. Nekrasov)

Don't be left behind. I am a prison guard.

You are a guard. There is only one destiny.

(M. Tsvetaeva)

The description of Chichikov’s appearance in Gogol’s “Dead Souls” is based on the use of antonyms: A gentleman sat in the chaise, not handsome, but not bad-looking, not too fat, not too thin; One cannot say that one is old, but one cannot say that one is young either.

Antonyms help to characterize inner essence character. This is how Yu. Trifonov describes one of his heroes: He was somehow suitable for everyone. And this, and that, and with these, and with these, and not evil, and not kind, and not very greedy, and not very generous, and not exactly an octopus, and not completely ogled, and not cowardly, and not a daredevil, and seemingly not a cunning one, and at the same time not a simpleton... He was absolutely nothing, Vadik Baton (“House on the Embankment”).

Content

Language of fiction …………………………………. 2
Trails…………………………………………………………………………………3
Stylistic figures…………………………………………...3

Literary and linguistic norm and stylistic norm ………….4
Literary principle.. ……………………………….....10

1. The language of fiction.
It is sometimes mistakenly called a literary language; some scholars consider it one of the functional styles of the literary language. However, in reality, what is characteristic of artistic speech is that all linguistic means can be used here, and not only units of functional varieties of the literary language, but also elements of vernacular, social and professional jargons, and local dialects. The writer subordinates the selection and use of these means to the aesthetic goals that he seeks to achieve by creating his work.
In a literary text, various means of linguistic expression are fused into a single, stylistically and aesthetically justified system, to which normative assessments attached to individual functional styles of the literary language are not applicable.
How a literary text combines various linguistic means, what stylistic devices the writer uses, how he “translates” concepts into images, etc., is the subject of the stylistics of literary speech. The principles and methods of this scientific discipline are reflected most clearly and consistently in the works of Academician V.V. Vinogradov, as well as in the works of other Soviet scientists - M.M. Bakhtin, V.M. Zhirmunsky, B.A. Larin, G.O. Vinokura et al.
Literary-linguistic norm and stylistic norm are concepts that are revealed in close connection with each other.
The norm of a language (language in general) is the generally accepted and established use of linguistic means at a given time in a given language community. The standard of literary language is usually associated with the criterion of exemplaryness. It is defined as “an exemplary application (use) of linguistic means”, as “a method of expression enshrined in the best examples of literature and preferred by the educated part of society. The literary-linguistic norm is a complex and heterogeneous formation, differing from the dialect norm not only by conscious codification, greater rigor and obligation, but also functional and stylistic differentiation. Essentially, a literary norm is a system of norms that vary in relation to a particular functional style. A stylistic, or functional-style, norm is a manifestation of a literary and linguistic norm in the aspect functional style, i.e. its functional-style (or stylistic) variety. In other words, a single literary and linguistic norm breaks down into a general norm and private, functional and stylistic norms. The general norm is the same for the literary language as a whole, for all its functional and stylistic branches. It connects styles, substyles and varieties of styles into a single system of literary language.

1.1. Trails:

epithet – figurative definition;
metaphor - the use of a word in figurative meaning to identify an object or phenomenon that is similar to it in certain features;
comparison - comparison of two phenomena, objects;
hyperbole - exaggeration;
litotes – understatement;
periphrasis - replacing a one-word name with a descriptive expression;
allegory - allegory, allusion;
personification is the transfer of human properties to inanimate objects.

anaphora - repetition of individual words or phrases at the beginning of a sentence;
epiphora - repetition of words or expressions at the end of a sentence;
parallelism - identical construction of sentences;
antithesis - a turn in which concepts are sharply opposed;
oxymoron – a comparison of mutually exclusive concepts;
non-union (asyndeton) and multi-union (polysyndeton);
rhetorical questions and appeals.

Complex goal

know

• fiction as a verbal form of creativity;
• organization and features of poetic language, poetic figures;
• poetic stylistics (hyperbole, grotesque, litotes, amplification);
• syntactic figures (inversion, signs);
• intonation and graphics (italics, ellipses, pause, anaphora, simploca, epiphora, sylleps, oxymoron, anacoluth, antithesis, allegory, alogism);
• poetic phonetics (alliteration, assonance, onomatopoeia, anagram);
• tropes (metaphor, metonymy, comparison, epithet, personification, periphrase);
• reminiscences, literary parodies;

be able to

• distinguish between the function of language as a grammatical category and the function of speech as a category of artistic style of use;
• distinguish between the forms of poetic and prosaic language;

own

• terminology of linguistic culture;
• appropriate conceptual apparatus scientific literature;
• skills speech analysis artistic language.

Features of poetic language

The language of fiction, in other words, poetic language, is the form in which the art of words, verbal art, is materialized and objectified, in contrast to other types of art, such as music or painting, where the means of materialization are sound, paint, and color.

Each nation has its own language, which is the most important feature of the national specificity of the people. Having its own vocabulary and grammatical norms, the national language primarily performs a communicative function and serves as a means of communication. Russian national language in its modern form basically completed its formation during the time of A.S. Pushkin and in his work. At the base national language a literary language is formed - the language of the educated part of the nation.

The language of fiction is a national language, processed by masters of artistic expression, subject to the same grammatical norms as the national language. The specificity of poetic language is only its function: it expresses the content of fiction, verbal art. Poetic language performs this special function at the level of living linguistic usage, at the level of speech, which in turn forms the artistic style.

Of course, the speech forms of the national language presuppose their own specifics: dialogical, monological, story-telling features of written and oral speech. However, in fiction these means should be considered in the general structure of the ideological, thematic, genre, compositional and linguistic originality of the work.

An important role in the implementation of these functions is played by figurative and expressive means of language. The role of these means is that they give speech a special flavor.

Flowers nod to me, bow your heads,

And the bush beckons with a fragrant branch;

Why are you the only one chasing me?

With your silk mesh?

In addition to the fact that this line is from the poem “A Moth for a Boy” with its own rhythm, its own size, rhyme pattern, and a certain syntactic organization, it contains a number of additional figurative and expressive means. Firstly, this is the speech of the moth addressed to the boy, a meek plea for the preservation of life. In addition to the image of a moth created by means of personification, flowers are personified here, which “nod” their heads to the moth, and a bush, which “beckons” with its branches. Here we will find the metonymically depicted image of a net ("silk net"), an epithet ("fragrant branch"), etc. In general, the stanza recreates the picture of nature, the images of a moth and a boy in certain respects.

By means of language, typification and individualization of characters’ characters, unique application, and use of speech forms are carried out, which outside of this use may not exist. by special means. Thus, the word “brother,” characteristic of Davydov (“Virgin Soil Upturned” by M. A. Sholokhov), includes him among the people who served in the navy. And the words “fact”, “actual” that he constantly uses distinguish him from everyone around him and are a means of individualization.

There are no areas in language where the possibility of an artist’s activity, the possibility of creating poetic visual and expressive means, would be excluded. In this sense, we can conditionally speak of “poetic syntax”, “poetic morphology”, “poetic phonetics”. We are talking here not about special laws of language, but, according to the correct remark of Professor G. O. Vinokur, about “a special tradition of language use.”

Thus, expressiveness itself, special figurative and expressive means are not a monopoly of the language of fiction and do not serve as the only formative material of a literary work. In the vast majority of cases, the words used in a work of art are taken from the general arsenal of the national language.

“He treated peasants and servants strictly and capriciously,” says A.S. Pushkin about Troekurov (“Dubrovsky”).

There is no expression or special means of expression here. And yet, this phrase is a phenomenon of art, since it serves as one of the means of depicting the character of the landowner Troekurov.

The ability to create an artistic image using language is based on the general laws inherent in language. The fact is that the word carries within itself not just elements of a sign, a symbol of a phenomenon, but is its image. When we say “table” or “house,” we imagine the phenomena denoted by these words. However, there are still no artistic elements in this image. We can talk about the artistic function of a word only when, in a system of other image techniques, it serves as a means of creating an artistic image. This, in fact, is the special function of poetic language and its sections: “poetic phonetics”, “poetic syntax”, etc. We are not talking about a language with special grammatical principles, but about a special function, a special use of forms of the national language. Even so-called word-images receive aesthetic meaning only in a certain structure. Thus, in the famous line from M. Gorky: “Over the gray plain of the sea, the wind gathers clouds” - the word “gray-haired” in itself does not have an aesthetic function. It acquires it only in combination with the words “plain of the sea.” “The gray plain of the sea” is a complex verbal image, in the system of which the word “gray-haired” begins to have the aesthetic function of a trope. But this trope itself becomes aesthetically significant in the overall structure of the work. So, the main thing that characterizes poetic language is not its saturation with special means, but its aesthetic function. Unlike any other use of them in a work of art, all linguistic means, so to speak, are aesthetically charged. “Any linguistic phenomenon under special functional and creative conditions can become poetic,” academician V. Vinogradov rightly asserts.

But the internal process of "poeticization" of language, however, is depicted by scientists in different ways.

Some scientists believe that the core of an image is a representation, a picture fixed in the forms of language; other researchers, developing the position about the linguistic core of an image, consider the process of “poeticization of speech as an act of accretion” to a word of additional quality or meaning. In accordance with this point of view, a word becomes a phenomenon of art (figurative) not because it expresses an image, but because, due to its inherent immanent properties, it changes quality.

In one case, the primacy of the image is affirmed, in the other - the primacy and primacy of the word.

There is no doubt, however, that the artistic image in its verbal expression represents an integral unity.

And if there is no doubt that the language of a work of art should be studied, like any phenomenon, on the basis of mastering the general laws of language development, that without special linguistic knowledge one cannot deal with the problems of poetic language, then at the same time it is quite obvious that, as a phenomenon of verbal art, language cannot be removed from the sphere of literary sciences that study verbal art at the figurative-psychological, social and other levels.

Poetic language is studied in connection with the ideological, thematic and genre-compositional specifics of a work of art.

Language is organized in accordance with certain tasks that a person sets for himself in the process of his activities. Thus, the organization of language in a scientific treatise and in a lyric poem are different, although in both cases forms of literary language are used.

The language of a work of art has two main types of organization - poetic And prosaic(the language of drama is close in its organization to the language of prose). Forms and means of organizing types of speech are at the same time speech means(rhythm, meter, methods of personification, etc.).

The source for poetic language is the national language. However, the norms and level of development of language at a particular historical stage do not in themselves determine the quality of verbal art, the quality of the image, just as they do not determine the specifics of the artistic method. During the same periods of history, works were created that differed in artistic method and by their poetic significance. The process of selecting linguistic means is subordinated to the artistic concept of a work or image. Only in the hands of an artist does language acquire high aesthetic qualities.

Poetic language will recreate life in its movement and in its possibilities with great completeness. With the help of a verbal image, you can “draw” a picture of nature, show the history of the formation of human character, and depict the movement of masses. Finally, a verbal image can be close to a musical one, as is observed in poetry. The word is firmly connected with thought, with the concept, and therefore, compared to other means of creating an image, it is more capacious and more active. A verbal image, which has a number of advantages, can be characterized as a “synthetic” artistic image. But all these qualities of a verbal image can only be identified and realized by an artist.

The process of artistic creativity or the process of poetic processing of speech is deeply individual. If in everyday communication you can distinguish a person by the manner of his speech, then in artistic creativity You can identify the author by his unique method of artistic processing of language. In other words, the writer’s artistic style is refracted in the speech forms of his works, etc. The entire infinite variety of forms of verbal art is based on this feature of poetic language. In the process of creativity, the artist does not passively apply the treasures of the language already obtained by the people - a great master with his creativity influences the development of the national language, improving its forms. At the same time, it relies on the general patterns of language development and its folk basis.

Journalism(from lat. publicus- public) - a type of literature whose content is mainly modern issues of interest to the general reader: politics, philosophy, economics, morality, law, etc. The closest to journalism in terms of the specifics of creativity are journalism and criticism.

The genres of journalism, journalism, and criticism are often identical. This is an article, a series of articles, a note, an essay.

A journalist, a critic, and a publicist often act as one person, and the boundaries between these types of literature are quite fluid: for example, a magazine article can be critical and journalistic. It is quite common for writers to act as publicists, although often a journalistic work is not artistic: it is based on real facts reality. The goals of a writer and a publicist are often close (both can contribute to the solution of similar political and moral problems), but the means are different.

The figurative expression of content in a work of art corresponds to the direct, conceptual expression of problems in journalistic work, which in this respect is closer in form to scientific knowledge.

Artistic and journalistic literature includes works in which specific life facts are expressed in figurative form. In this case, elements of creative imagination are used. The most common genre is the artistic essay.

• Vinokur G. O. Selected works on the Russian language. M., 1959. P. 388.
• Vinogradov V.V. Stylistics. Theory of poetic speech. Poetics. M., 1963. P. 139.