The use of introductory words and phrases in speech requires a stylistic comment, since they, expressing certain evaluative meanings, give an expressive coloring to the statement and are often assigned to the functional style. Stylistically unjustified use of introductory words and phrases damages the culture of speech. Appeal to them may also be connected with the aesthetic attitude of writers and poets. All this is of undoubted stylistic interest.
If we start from the traditional classification of the main meanings of introductory components, it is easy to identify their types that are assigned to one or another functional style. Thus, introductory words and phrases expressing reliability, confidence, assumption: undoubtedly, of course, probably, perhaps - gravitate towards book styles.
Introductory words and phrases used to attract the attention of the interlocutor, as a rule, function in a conversational style, their element is oral speech. But writers, skillfully inserting them into the characters’ dialogues, imitate a casual conversation: “Our friend Popov is a nice fellow,” Smirnov said with tears in his eyes, “I love him, I deeply appreciate his talent, I’m in love with him, but... you know? - this money will ruin him (Ch.). Such introductory units include: listen, agree, imagine, imagine, believe, remember, understand, do mercy, etc. Their abuse sharply reduces the culture of speech.
A significant group consists of words and phrases that express an emotional assessment of the message: fortunately, to surprise, unfortunately, to shame, to joy, to misfortune, an amazing thing, a sinful thing, nothing to hide and under. Expressing joy, pleasure, disappointment, surprise, they give speech an expressive coloring and therefore cannot be used in strict texts of book speech, but are often used in live communication between people and in works of art.
Introductory sentences, expressing approximately the same shades of meaning as introductory words, are, in contrast, stylistically more independent. This is explained by the fact that they are more diverse in lexical composition and volume. But the main area of their use is oral speech (which introductory sentences enrich it intonationally, giving it special expressiveness), as well as artistic, but not book styles, in which, as a rule, shorter introductory units are preferred.
Introductory sentences can be quite common: While our hero, as they wrote in novels in the leisurely good old days, walks to the lighted windows, we will have time to tell what a village party is (Sol.); but more often they are quite laconic: you know, I need to point out to you, if I’m not mistaken, etc. Inserted words, phrases and sentences are additional, incidental comments in the text.
Let us give several examples of the stylistically perfect inclusion of inserted structures in a poetic text: Believe me (conscience is our guarantee), marriage will be torment for us (P.); When I begin to die, and, believe me, you won’t have to wait long - you will take me to our garden (L.); And every evening, at the appointed hour (or is it just me dreaming?), the girl’s figure, captured in silks, moves through the foggy window (Bl.).
The use of introductory words and phrases in speech requires a stylistic comment, since they, expressing certain evaluative meanings, give an expressive coloring to the statement and are often assigned to the functional style. Stylistically unjustified use of introductory words and phrases damages the culture of speech. Appeal to them may also be connected with the aesthetic attitude of writers and poets. All this is of undoubted stylistic interest.
If we start from the traditional classification of the main meanings of introductory components, it is easy to identify their types that are assigned to one or another functional style. Thus, introductory words and phrases expressing reliability, confidence, assumption: undoubtedly, of course, probably, perhaps - gravitate towards book styles.
Introductory words and phrases used to attract the attention of the interlocutor, as a rule, function in a conversational style; their element is oral speech. But writers, skillfully inserting them into the characters’ dialogues, imitate a casual conversation: “Our friend Popov is a nice fellow,” Smirnov said with tears in his eyes, “I love him, I deeply appreciate his talent, I’m in love with him, but... you know? - this money will ruin him (Ch.). Such introductory units include: listen, agree, imagine, imagine, believe, remember, understand, do mercy, etc. Their abuse sharply reduces the culture of speech.
A significant group consists of words and phrases that express an emotional assessment of the message: fortunately, to surprise, unfortunately, to shame, to joy, to misfortune, an amazing thing, a sinful thing, nothing to hide and under. Expressing joy, pleasure, grief, surprise, they give speech an expressive coloring and therefore cannot be used in strict texts of book speech, but are often used in live communication between people and in works of art.
Introductory sentences, expressing approximately the same shades of meaning as introductory words, are, in contrast, stylistically more independent. This is explained by the fact that they are more diverse in lexical composition and volume. But the main area of their use is oral speech (which introductory sentences enrich intonation, giving it special expressiveness), as well as artistic, but not book styles, in which, as a rule, shorter introductory units are preferred.
Introductory sentences can be quite common: While our hero, as they wrote in novels in the leisurely good old days, walks to the illuminated windows, we will have time to tell what a village party is (Sol.); but more often they are quite laconic: you know, I need to point out to you, if I’m not mistaken, etc.
Inserted words, phrases and sentences are additional, incidental comments in the text.
Let us give several examples of the stylistically perfect inclusion of inserted structures in a poetic text: Believe me (conscience is our guarantee), marriage will be torment for us (P.); When I begin to die, and, believe me, you won’t have to wait long - you will take me to our garden (L.); And every evening, at the appointed hour (or is it just me dreaming?), the girl’s figure, captured in silks, moves through the foggy window (Bl.).
Introductory components in structure can be introductory words, introductory phrases or introductory sentences. Their main common function is the expression of subjective modality, i.e. the speaker's relationship to what is being communicated.
Introductory words or introductory phrases are words or phrases that indicate the speaker’s attitude to the statement.
According to the method of morphological expression, introductory words and water phrases correlate with:
- modal words: of course, obviously;
- nouns: that’s the trouble, fortunately;
- verbs or combinations of verb + noun or adverb: to tell the truth, I think, to tell the truth, by the way;
- pronouns, often in the dative case with a prepositional
- pronominal adverbs: in my opinion;
- adverbs: in short, more accurately
Functional-semantic classification of introductory components:
- Express modal meanings:
- reliability, confidence: of course, of course, true, in fact
- assumption, uncertainty: maybe, it seems, possible;
- Express the emotional and semantic reaction of the speaker. Introductory words indicate an emotional and semantic assessment of what is being said: fortunately, to general joy, to misfortune;
- They indicate the source of the message: in my opinion, as is known, I remember, according to legend;
- They indicate the logical sequence of thought: firstly, then, so, thus, for example;
- They require attracting the attention of the interlocutor: you see, imagine.
- They convey an assessment of the measure, the degree of what is being said: at least to one degree or another, etc.
Introductory proposals can be submitted:
- Two-part sentences where the subject is expressed by a personal pronoun: I think, I think.
- Impersonal offers: as it happened, as it happened.
- Vaguely personal one-part sentences: how they usually talked about him, how they thought.
Wed: After all, it seems that Modest Tchaikovsky wrote the libretto for “Onegin” - the introductory word refers to the subject.
Spring is undoubtedly the best and most poetic time of the year - the introductory word applies to the entire sentence.
The introductory constructions are stylistically heterogeneous. They are widely used in bookish and conversational styles. In artistic speech, introductory constructions are used as means of expression when creating speech characteristics of characters.
Scientific and business speech is characterized by introductory constructions that express logical connections and relationships between parts of a sentence, indicating the sequence of presentation of thoughts, to formulate a conclusion, generalization, consequence, etc.
In speech, the technique of inserting statements into a sentence that are in one way or another related to the content of the sentence is widespread. Plug-in constructions are very diverse in syntactic structure. These are words, combinations of words and sentences that express an additional message and related comments that complement and clarify the meaning of the sentence.
The plug-in construction is characterized by a special intonation of inclusion: long pauses are made at the places where the main sentence breaks. Unlike introductory constructions, intercalary constructions do not express modal, emotional or expressive meanings. They are more closely related to the main content of the sentence.
Plug-in constructions can be represented by ordinary punctuation marks (eg, ? or!), which convey the attitude to the expressed thought.
N-r, I demand (!?) an answer
Inserted constructions in structure can be a word, a sentence, an entire paragraph, or a complex syntactic whole.
For example, I ordered journals of foreign literature (two) to be sent to Yalta. By this fairway (now the Nevelsky fairway) Nevelsky ascended the Amur to Cape Kuegda.
Plug-in structures can be designed as subordinate clauses.
Plug-in constructions clarify and specify the content of individual words or expressions, expanding or narrowing their meaning. Plug-in constructions can serve as terminological explanations of words and expressions used in a sentence, comments on proper names, rhetorical questions, author's remarks, appeals to the reader, listener. Insert designs can indicate the time and place of action, and detail the situation. Plug-in structures can include direct speech, which brings the narrative to life.
The use of introductory words and phrases in speech requires a stylistic comment, since they, expressing certain evaluative meanings, give an expressive coloring to the statement and are often assigned to the functional style. Stylistically unjustified use of introductory words and phrases damages the culture of speech. Appeal to them may also be connected with the aesthetic attitude of writers and poets. All this is of undoubted stylistic interest.
If we start from the traditional classification of the main meanings of introductory components, it is easy to identify their types that are assigned to one or another functional style. Thus, introductory words and phrases expressing reliability, confidence, assumption: of course, probably, perhaps - gravitate towards book styles.
Introductory words and phrases used to attract the attention of the interlocutor, as a rule, function in a conversational style; their element is oral speech. But writers, skillfully inserting them into the characters’ dialogues, imitate a casual conversation. Such introductory units include: listen, imagine, imagine, believe, remember, understand. Their abuse sharply reduces the culture of speech.
A significant group consists of words and phrases that express an emotional assessment of the message: fortunately, surprisingly, unfortunately, shame. Expressing joy, pleasure, grief, surprise, they give speech an expressive coloring and therefore cannot be used in strict texts of book speech, but are often used in live communication between people and in works of art.
Introductory sentences, expressing approximately the same shades of meaning as introductory words, are, in contrast, stylistically more independent. This is explained by the fact that they are more diverse in lexical composition and volume. But the main area of their use is oral speech (which introductory sentences enrich intonation, giving it special expressiveness), as well as artistic, but not book styles, in which, as a rule, shorter introductory units are preferred.
Introductory sentences can be quite common, but more often they are quite laconic: you know, if I'm not mistaken.
Inserted words, phrases and sentences are additional, incidental comments in the text.
Here are a few examples of the stylistically perfect inclusion of inserted structures in a poetic text: And every evening, at the appointed hour (or is this just me dreaming?), a girl’s figure, captured in silks, moves in a foggy window.
Stylistics complex sentences. Stylistic errors in complex sentences.
Words used figuratively to create an image are called tropes. Paths give clarity to the depiction of certain objects or phenomena. Acting as paths, ordinary words can acquire greater expressive power. However, it would be wrong to assume that tropes are used by writers only when describing unusual, exceptional objects and phenomena. Tropes can be a vivid means of creating realistic paintings. Tropes are also found in descriptions of unaesthetic phenomena that cause a negative assessment of the reader. Humorists and satirists love tropes that “lower” the subject of the description, giving the speech a comic sound. For the stylistic assessment of tropes, what is important is not their conventional “beauty”, but organic nature in the text, conditioned by the content of the work, the aesthetic goals of the author.
Speech equipped with tropes is called metalogical; it is opposed to autological speech, in which there are no tropes. Sometimes it is incorrectly believed that only metalogical speech can be highly artistic, while the absence of tropes in the style supposedly indicates insufficient skill of the writer. This judgment is fundamentally wrong. Autological speech can also be highly artistic. Even in poetry, one can find many examples of aesthetically perfect use of words in their direct lexical meanings. Preference for tropes or rejection of them does not yet give grounds to talk about the degree of skill of the author - it all depends on how the tropes are used, how justified the appeal to them is in the context, convincing , reliable or weak, false images are created by the writer.
Paths.
Words used figuratively to create an image are called tropes. Paths provide clarity to the depiction of certain objects and phenomena. Trails can be a powerful means of creating realistic paintings. Tropes are also found in descriptions of unaesthetic phenomena that evoke a negative assessment from the reader. For the stylistic assessment of tropes, what is important is not their conventional “beauty,” but their organic nature in the text, their dependence on the content of the work, and the aesthetic goals of the author.
Speech equipped with tropes is called metalogical; it is contrasted with autological speech, in which there are no tropes.
Sometimes it is incorrectly believed that only metalogical speech can be highly artistic. This judgment is fundamentally wrong. Autological speech can also be highly artistic. It all depends on how the tropes are used, how justified the appeal to them is in the context.
When studying tropes, two contrasting forms of expression are usually contrasted - artistic speech and non-artistic speech. However, the use of tropes is possible not only in works of fiction. Functional styles borrow imagery from artistic speech, but at the same time qualitatively transform it, adapting it to their needs. Of the functional styles, the most open to tropes is the journalistic one, in which the word often performs an aesthetic function.
Metaphor- is the transfer of a name from one object to another based on their similarity. Among other tropes, metaphor occupies the main place; it allows you to create a capacious image based on vivid, often unexpected, bold associations. The east is burning with a new dawn. Metaphorization can be based on the similarity of a variety of features of objects: color, shape, volume, purpose, position in space and time.
Personification is called the endowment of inanimate objects with signs and properties of a person. The earth sleeps in a blue radiance... Personification is one of the most common tropes. Personifications are used to describe natural phenomena, things surrounding a person that are endowed with the ability to feel, think, and act. Personification is one of those tropes that are widely used not only in artistic speech, but also in the scientific style (air heals, X-ray showed), journalistic (The usual duel of batteries has begun). A special type of personification is personification - the complete assimilation of an inanimate object to a person. In this case, objects are not endowed with private characteristics of a person (as in personification), but acquire a real human appearance. Normal economic blood circulation has been preserved here.
Allegory (allegory) is the expression of abstract concepts in specific artistic images. For example, stupidity and stubbornness are embodied in the image of a Donkey.
Metonymy is called the transfer of names from one subject to another based on their contiguity. Porcelain and bronze on the table. The metonymy of definitions is of interest. Overstarched impudent guy.
A special type of metonymy - antonomasia - a trope in use own name in the meaning of a common noun. A strong man is sometimes figuratively called Hercules. An inexhaustible source of antonomasia is ancient mythology and literature.
A type of metonymy is synecdoche . This trope consists of replacing plural unique, in the use of the name of the part instead of the whole, the particular instead of the general, and vice versa. Europe is going home.
Epithet called figurative definition object or action. Paths, in the strict sense of the term, include only epithets, the function of which is performed by words used in a figurative meaning (golden autumn). Epithets are most often colorful definitions expressed by adjectives.
comparison . Comparison is the comparison of one object with another for the purpose of artistic description first [Under the blue skies with magnificent carpets, glistening in the sun, the snow lies]. Comparison is one of the most common means of figurativeness in metalogical speech.
Hyperbole is a figurative expression consisting of an exaggeration of the size, strength, beauty, and meaning of what is being described (My love, wide as the sea, cannot be contained by the shores of life).
Litota is a figurative expression that downplays the size, strength, or significance of what is being described (- Your Spitz, your lovely Spitz, no bigger than a thimble).
Hyperbole and litotes have a common basis - deviation from an objective quantitative assessment of an object, phenomenon, quality - and therefore can be combined in speech.
Related to lexical figurative means paraphrase (paraphrase). A periphrasis is a descriptive phrase used instead of a word or phrase. Not all periphrases are metaphorical in nature; there are also those that retain the direct meaning of the words that form them [city on the Neva]. Such periphrases, in contrast to figurative ones, can be defined as non-figurative. Only figurative periphrases belong to tropes, since only in them words are used in a figurative meaning.
Stylistic figures.
Stylistic figures are special figures of speech fixed by stylistics, used to enhance the expressiveness of an utterance. Sometimes tropes, as well as unusual phrases and figures of speech that go beyond the linguistic norm, are classified as stylistic figures.
Stylistic figures can be divided into three types, each of which exists in two opposite versions.
Figures of stylistic extent are divided into:
1) Figures of stylistic diminution - ellipsis, silence.
2) Stylistic additions are the result of choosing a construction in which the same word is repeatedly used in the same form. Exact repetition, anaphora, epiphora, anadiplosis, symplocy, mesarchy; tautology; antithesis.
Figures of stylistic coherence are divided into:
1) Figures of stylistic disjunction; parcellation; parenthesis, segmentation.
2) Figures are stylistic associations: gradation, parallelism, repetition of conjunctions.
Figures of stylistic significance are divided into:
1) Figures of stylistic equalization: direct word order; uniformity of distribution of minor members; approximately the same length of phrases and paragraphs.
2) Figures are stylistic highlights - the result of choosing a design with unequal components: inversion, gradation. There are stylistic figures that enhance and highlight the phrase as a whole against the background of its surroundings: rhetorical appeal, rhetorical question, rhetorical exclamation.
The use of stylistic figures (as well as tropes) in speech is a particular aspect of the problem of a writer’s skill. The mere presence or absence of stylistic figures does not at all determine the stylistic merits of the text.
Anaphora– repetition of the initial parts of two or more relatively independent segments of speech. I love you, Petra’s creation, I love your strict, slender appearance...
Epiphora– repetition of the same words at the end of adjacent segments of speech. Scallops, all scallops: a cape made of scallops, scallops on the sleeves, epaulettes made of scallops, scallops below, scallops everywhere.
Parallelism– homogeneous syntactic construction of two sentences. The waves splash in the blue sea. The stars shine in the blue sky
Antithesis– a sharply expressed opposition of concepts or phenomena. You and the poor, You and the abundant, You and the mighty, You and the powerless... enhances the emotional coloring of speech and emphasizes the thought expressed with its help
Gradation– a stylistic figure in which definitions are grouped in a certain order - increasing or decreasing their emotional and semantic significance. I do not regret, do not call, do not cry. Enhances emotional sound
Non-union (asyndeton)- a structure of speech in which conjunctions connecting words are omitted. Enhances the expressiveness of a phrase. And again the world is dark, cold, tired
Polyunion (polysyndeton)- a structure of speech in which the number of conjunctions between words is increased. And the waves crowd and rush back, And they come again, and hit the shore... emphasizes individual words, enhances its expressiveness
Inversion- a stylistic figure consisting of a violation of generally accepted grammatical
sequences of speech. Gives a peculiar expressive shade. Heavenly clouds.
Parcellation associated with the division of the utterance. Night. Street. Flashlight. Pharmacy. Pointless and dim light. Live for at least another quarter of a century - Everything will be like this. There is no outcome.
Ellipsis– omission of one of the members of a sentence that is easily restored in meaning. Dynamic and concise speech conveys a tense change of action. Tatiana in the forest; the bear is behind her.
Default– omission of what is very significant and ambiguous. With its help, the unsaid becomes more meaningful. And in the evening, when the chickens were roosting, the gloomy owner came out and put all seven of them in a sack. She ran through the snowdrifts. Keeping up with him to run... And for so long, long the unfrozen surface of the water trembled.
Oxymoron– A combination of words with opposite meanings “living corpse” Paronomasia is a stylistic figure based on the use of paronyms. There is no point in pitying or favoring them!
44. Stylistic functions of direct speech.
Stylistic functions of direct speech in literary text are diverse: it not only contains this or that information necessary for the development of the plot, but also acts in a visual function, drawing the appearance of a hero who has his own style speech behavior. By the way he chooses and pronounces words, we judge the character’s passion for book speech or, on the contrary, for dialect, vernacular; We find out whether he prefers an affectionate or rude form of expression, a sincere or false intonation. For the artist, the direct speech of a character is both the subject of the image and a means of self-expression for the hero. Dialogues, inner speech of characters, author's remarks to direct speech - all this serves as the most important means of depicting life in its various manifestations.
In the direct speech of the characters, in accordance with the writer’s plan, “the most diverse stylistic varieties of the source language are reflected. In this sense, literature is a reflection not only of extra-linguistic reality, but also of the linguistic life of society.”
In other cases, when stylizing the speech of the characters, the writer must select stylistically colored elements in such a way that the reader gets a feeling of a certain stylistic quality.
The method of introducing direct speech into the author’s narrative is also of great stylistic importance. As a rule, writers use various remarks for this purpose, which complement the reader’s idea of the speaking character, clarify his remarks, and in special cases help to comprehend their deep subtext and understand the hidden meaning in them
Unlike introductory clauses, they cannot be used at the beginning of a sentence. In writing, inserted structures are highlighted with brackets or dashes: Today after lunch my father introduced me to Alexandrina(One French girl) (F. Dostoevsky). Plug-in structures can be different in their structure and intonation: I had good friend- where it would be better to be! - yes, it used to be that we didn’t have time to talk to him(K. Simonov).
Stylistically unjustified use of introductory words and phrases damages the culture of speech. Appeal to them can also be connected with the aesthetic attitude of writers and poets, and therefore arouses a certain stylistic interest. IV
.
Job
Above
Subject
Lesson
1. teacher's explanation
(Students write theses.)- If we start from the traditional classification of the main meanings of introductory components, it is easy to identify their types that are assigned to one or another functional style. Thus, introductory words and phrases expressing reliability, confidence, assumption: Undoubtedly, of course, probably, perhaps,- gravitate towards book styles. Introductory words and phrases used to attract the attention of the interlocutor, as a rule, function in a conversational style; their element is oral speech. But writers, skillfully inserting them into the characters’ dialogues, imitate a casual conversation: - Our friend Popov is a nice fellow,” said Smirnov with tears in his eyes, “I love him, I deeply appreciate his talent, I’m in love with him, but... you know, this money will ruin him(A. Chekhov).
Commas before a dash are placed or not placed according to the conditions of the context: Even hunters - and there are many of them in this region - feel like guests in the forest(V. Tendryakov). 2. familiarization with the theoretical material of the textbook on the topic of the lesson
V.
Generalization
,
Systematization
AND
Control
Knowledge and
Skills
Students
1. Practical work with language material
Š Read, find introductory words and sentences. For what purpose are they used?
DURING THE CLASSES (.
Organizational
Stage
II
Update
Supporting
Knowledge
1. listening to speeches by 2–3 students
(see creative homework previous lesson)
2. Conversation
♦ What do introductory words and introductory sentences mean? In what part of the sentence can they be found? ♦ How to distinguish introductory words or phrases from inserted constructions? ♦ What are the difficulties in highlighting inset structures? III
.
Staging
Goals
AND
Tasks
Lesson
4) Maxim Maksimych has not appeared yet. Fortunately, Pechorin was deep in thought and, it seems, was in no hurry to get on the road ( M. Yu. Lermontov). - The train rushed me to happiness. It [happiness] always seems small while you are holding it in your hands. 5) He was calmly silent... And he could remain silent in this way for several hours ( L. N. Tolstoy). - He recognized that “lyrics are the highest and most difficult manifestation of art.”
