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What are syntactic means? Syntactic means of a sentence

Elena Buzina

Syntactic means of artistic representation

When working on text analysis in Unified State Examination tasks, a student has to deal with terms whose meaning he vaguely understands. This is especially true for syntactic concepts. Not the subject-predicate and isolated definitions familiar from Russian language textbooks, but concepts associated with the visual, artistic possibilities of syntax. Teacher of Russian language and literature from Omsk Elena Vladimirovna BUZINA successfully uses generalizing tables in her practice, which allow her students to comprehensively repeat the necessary terms before the exam. One of these tables - just in syntax - we present to your attention today.

It (the language) has a freedom that does not exist in other languages:
rearranging the words in a phrase changes the meaning.
This freedom, the absence of obligatory clarification, which is born in Western European languages from the rigidity of syntax, the absence of articles - all this provides the writer with limitless opportunities; before him is not the depleted soil of past centuries, but constant virgin soil. ( I. Ehrenburg)

In a work of art, syntax, in addition to its communicative task, also has an aesthetic function, participating together with other methods of linguistic expression in the creation of artistic images and in conveying attitudes towards the depicted reality.

A distinctive feature of Russian syntax, according to famous language researchers, is the freedom of movement of words within a sentence. Thus, free word order gives Russian syntax grammatical flexibility and generates a huge number of syntactic synonyms, with the help of which authors manage to convey the subtlest semantic differences ( Golub I.B. Grammatical stylistics of the modern Russian language. M., 1989. P. 153).

This circumstance gives rise to many of the visual techniques used by masters of the Russian word, and also forms the special properties of Russian syntax.

Indeed, syntax is not only special syntactic constructions, syntactic elements or units. This, according to S.I. Lvovoy, “...the linguistic level at which all linguistic figurative means are combined and interact, not existing in the text in isolation, but functioning in a syntactic unit - in a sentence” ( Lvova S.I. Literature lessons. 5–9 grades: A manual for teachers. M.: Bustard, 1996. P. 385).

Basic syntactic means

Reception	Definition	Example	Meaning
Syntactic means of creating expression
Rhetorical exclamations	They contain a special expression and increase the tension of speech.	Lush! There is no equal river in the world! (about the Dnieper). (Gogol)	They increase the emotionality of the statement and attract the reader’s attention to certain parts of the text.
A rhetorical question	Contains an affirmation or denial, framed as a question that does not require an answer.	Why are you bothering me? What do you know, boring whisper?.. What do you want from me? Are you calling or prophesying? (Pushkin)	Brightness, variety of emotionally expressive shades. Can be used in colloquial speech, in journalistic and scientific prose.
Parallelism	Identical syntactic construction of adjacent sentences or segments of speech.	The stars shine in the blue sky, The waves splash in the blue sea. (Pushkin)	Can enhance a rhetorical question and a rhetorical exclamation.
Anaphora	Repetition of words or phrases at the beginning of sentences, poetic lines or stanzas (uniformity).	Only in the world is there something shady Dormant maple tent. Only in the world is there something radiant A childish, pensive look. (Fet)	Enhances the expressiveness of speech and logical selection.
Epiphora	Repeating a word or phrase at the end of a poetic line.	Why am I known as a charlatan? Why am I known as a brawler? The hazy pool in my heart cleared up. That's why I became known as a charlatan, That's why I became known as a brawler. (Yesenin)	Strengthening intonations and shades of spoken speech.
Inversion	Changing the usual order of words and phrases that make up a sentence in order to enhance the expressiveness of speech.	...where people's eyes stop short. (Mayakovsky) He passes the doorman with an arrow He flew up the marble steps. (Pushkin)	Gives the phrase a new expressive shade.
Ellipse	Omission of an element of an utterance that is easily reconstructed in a given context or situation.	We villages are in ashes, cities are in dust, Swords include sickles and plows. (Zhukovsky)	Gives the utterance dynamism and intonation of live speech.
Default	A figure representing the opportunity to guess and reflect on what might be discussed in a suddenly interrupted statement.	I do not love, O Rus', your timid Thousands of years of slave poverty. But this cross, but this white ladle... Humble birthmarks! (Bunin)	Awakens deep thoughts and feelings. Often used in direct speech.
Various ways to break sentence closure
Shifting syntactic structures	The end of the sentence is given in a different syntactic plan.	But those who in a friendly meeting I read the first verses... There are no others, and those are far away... (Pushkin)	Intermittency of speech, agitation of the speaker.
Connection structures	Phrases do not fit into one semantic plane, but form an associative chain.	Every city has an age and a voice, There are clothes of their own and especially a smell. And the face. And not immediately understandable pride. (Christmas)	Gives expressiveness, sections of text become emotionally rich and bright.
Nominative representations (isolated nominative)	Names the topic of the last phrase.	Moscow! There is so much in this sound For the Russian heart merged... (Pushkin)	Designed to arouse special interest in the subject of the statement, enhances the sound.
Parcellation	Dividing a sentence into separate segments (words).	And again Gulliver. Costs. Slouching. (Antokolsky)	The logical emphasis on each word gives them special strength and expressiveness.
Period	A complex syntactic structure, harmonic in form, characterized by a special rhythm and orderliness of parts, as well as exceptional completeness and completeness of content. Two mutually balanced parts in a period: increased intonation; decrease in intonation. This determines the harmony and intonational completeness of the period.	When the yellowing field is agitated... (Lermontov) Am I wandering along the noisy streets... (Pushkin)	The main provisions of the period allow us to comprehend the text from different angles and appreciate the variety of shades.
Polyunion (polysyndeton)	Polyunion and non-union can be used in a close context and add greater expressiveness to speech and text.	There was typhus, and ice, and hunger, and blockade. Everything was gone: cartridges, coal, bread. (Shengelaya)	Intonation and logical emphasizing of highlighted objects.
Asyndeton (asyndeton)		Swede, Russian - Stabs, chops, cuts... (Pushkin)	Swiftness, dynamism, richness of impressions.
Gradation	The arrangement of words, phrases or parts of a complex sentence, in which each subsequent one strengthens or weakens the meaning of the previous one.	In autumn, the feather grass steppes completely change and take on their own special, original appearance, unlike anything else. (Aksakov)	Increasing intonation and emotional intensity of speech.

To enhance the figurative and expressive function of speech, special syntactic structures are used - the so-called stylistic (or rhetorical) figures.
A stylistic figure is a figure of speech, a syntactic structure used to enhance the expressiveness of a statement (anaphora, antithesis, inversion, epiphora, ellipsis, rhetorical question, etc.).

4. Ellipsis - a stylistic figure consisting in the omission of any implied member of the sentence	We turned villages into ashes, cities into dust, and swords into sickles and plows. (V. Zhukovsky)
5. Parcellation - dividing a sentence into separate segments (words)	And again Gulliver. Costs. Slouching. (P. Antokolsky)
6. Gradation - a stylistic figure consisting of such an arrangement of words in which each subsequent one contains an increasing (less often - decreasing) meaning	Arriving home, Laevsky and Alexandra Fedorovna entered their dark, stuffy, boring rooms. (A. Chekhov) I will not break, I will not waver, I will not get tired, I will not forgive my enemies even a grain. (O. Berggolts)
7. Inversion - arrangement of sentence members in a special order (violating the so-called direct order) in order to enhance the expressiveness of speech	I thought with horror what all this would lead to! And with despair I recognized his power over my soul. (A. Pushkin)
8. Silence is a figure of speech in which the author deliberately does not fully express a thought, leaving the reader/listener to guess what is unspoken.	No, I wanted... maybe you... I thought it was time for the master to die. (A. Pushkin)
9. Rhetorical appeal is a stylistic figure consisting of an emphasized appeal to someone or something	Flowers, love, village, idleness, field! I am devoted to you with my soul. (A. Pushkin)

10. Rhetorical question - a stylistic figure consisting in the fact that a question is posed not with the goal of getting an answer, but with the goal of attracting the reader/listener’s attention to a particular phenomenon	Do you know Ukrainian night? (N. Gogol) Or should we argue with Europe? new? Or is the Russian unaccustomed to victories? (A. Pushkin)
11. Polyunion - the deliberate use of repeated conjunctions to enhance the expressiveness of speech	A thin rain fell on the forests, and on the fields, and on the wide Dnieper. (N. Gogol)
12. Non-union - a stylistic figure consisting of the deliberate omission of connecting conjunctions in order to give dynamism and expressiveness to the described	Swede, Russian - stabs, chops, cuts, drumming, clicks, grinding, The thunder of guns, stomping, neighing, groaning. (A. Pushkin)

№ 256*.
In these examples, identify the syntactic means of expressiveness of speech.
1) Do I wander along noisy streets, // Do I enter a crowded temple, // Do I sit among crazy youths, // Do I indulge in my dreams. (A. Pushkin) 2) Dear friend, and in this quiet house // The fever hits me. // I can’t find a place in a quiet house // Near a peaceful fire! (A. Blok) 3) But you pass by and don’t look, you meet and you won’t recognize. (A. Blok) 4) You - to the cabins! You are in the storerooms! (V. Mayakovsky) 5) Flerov - he can do everything. And uncle Grisha Dunaev. And the doctor too. (M. Gorky) 6) He came, he saw, he conquered. (Julius Caesar) 7) The moon came out on a dark night, looking lonely from a black cloud at the deserted fields, at distant villages, at nearby villages. (B. Neverov) 8) But listen: if I owe you. I own a dagger, I was born near the Caucasus. (A. Pushkin) 9) Quiet, speakers! Your word, Comrade Mauser! (V. Mayakovsky) 10) Who is not affected by novelty? (A. Chekhov) 11) The ocean walked before my eyes, and swayed, and
thundered, and sparkled, and faded, and glowed, and went somewhere into infinity. (V. Korolenko)12) Booths, women, boys, shops, lanterns, palaces, gardens, monasteries flash past. (A. Pushkin)
Final work No. 8

1. This sentence is a period:

a) Then they went into the wilderness, where they didn’t meet a soul, where only the clicking of dragonflies rang in the thickets of mimosa trees and the grins of unknown animals seemed to be seen between the wild rocks. (N. Gumilyov) b) If it is true that you exist, my God, my God, if you have woven a carpet of stars, if this pain, which multiplies daily, has been sent down by you, Lord, torture, put on the judge’s chain, wait for my visit. (V. Mayakovsky) c) Having piled up his creations like blocks of a giant’s construction, he brought in an eagle’s nest and showed all the hiding places of the earth; giant, whose spirit is a floating picture, you are ours through the fact that here we are all yours. (K. Balmont)

Place punctuation marks in direct speech and determine which example each pattern corresponds to.

1) “P” - a, a: “P” - a. 2) A: “P”; a: “P!” 3) A: “P!” - a: “P!” a) The owner, having raised a full glass, was important and motionless. I drink to the land of my native meadows, in which we all lie, and my friend, looking into my face and remembering God knows what, exclaimed. And I to her songs, in which we all live. ! (A. Akhmatova) b) Ghost of Happiness, White Bride I thought, trembling and embarrassed, but she said Not from her place and looked quietly and in love. (N. Gumilyov) c) If the holy army shouts, Throw away Rus', live in paradise! I will say No need for paradise, give me my homeland! (S. Yesenin)

Replace direct speech with indirect speech.

You said: “What poverty! If only the soul were strong, if only the will to live was preserved with a thirst for happiness.” (F. Sologub)

Replace indirect speech with direct speech.

One day Jurata sent out all the servants to inform all the famous goddesses that she was asking them to welcome them to the feast and to advise them on a significant matter - about a great untruth. (K. Balmont)

Correct the punctuation error made when formatting direct speech.

“Sons, get up. Saddle your horses!” - the gray-haired old man knocks and shouts. - “Let’s go, but what, father, is wrong with you?” - “Eldest, middle son, help; youngest son, dear, help: the enemies have stolen their daughters.” - “Enemies kidnapped the sisters? Hurry for them. Oh, shame! - “Sons, we’re flying! Let's catch up with the enemies! Let’s bury the shame in the blood of our enemies!” (K. Balmont)

Imagine the text in the form of a dialogue - you will get N. Gumilyov’s poem “Dream (morning chat)” (quotes and dashes are not placed intentionally):

Are you so beautiful today, what did you see in your dream? Shore, willows under the moon. What else? One does not come to the night slope without love. Desdemona and myself. You look so timidly: Who was there behind the bunch of willows? There was Othello, he was beautiful. Was he worthy of both of you? Was it like moonlight? Yes, he is a warrior and a poet. What kind of undiscovered beauty was he singing about today? About the desert and the dream. And you listened in love, without concealing tender sadness? Desdemona, but not me.
II. Work with text.
Write an essay based on the text you read according to a given compositional scheme (problem, comment, author’s position, reasoned opinion regarding the relevance of the problem and agreement/disagreement with the author’s position).
To this department. I climbed not three or four paved steps, but hundreds and even thousands of them - unyielding, steep, frozen, out of darkness and cold, where I was destined to survive, while others - perhaps with a greater gift, stronger than me - perished. Of these, I myself met only a few in the Gulag Archipelago. Those who sank into that abyss already with a literary name are at least known, but how many are unrecognized, never publicly named! And almost, almost no one managed to return. An entire national literature remained there, buried not only without a coffin, but even without underwear, naked, with a tag on its toe.
And today, accompanied by the shadows of the fallen and with a bowed head, letting others who were previously worthy go ahead of me to this place, I today - how to guess and express what they wanted to say?

In the languid wanderings of the camp, in a column of prisoners, in the darkness of the evening frosts with strings of lanterns shining through - more than once it came to our throats that we would like to shout out to the whole world, if only the world could hear any of us. Then it seemed very clear: what our lucky messenger would say - and how the world would immediately respond.
And amazingly for us, “the whole world” turned out to be completely different from what we expected, as we hoped: living “in the wrong way,” going “in the wrong direction,” exclaiming in the swampy swamp: “What a charming lawn!” - on concrete neck pads: “What a sophisticated necklace!” - and where some have untired tears, others dance to the carefree musical.
How did this happen? Why did this abyss gap? Were we insensitive? Is the world insensitive? Or is it because of the difference in languages? Why are people not able to hear every speech from each other? Words sound out and flow away like water - without taste, without color, without smell. Without a trace.
As I understood this, the composition, meaning and tone of my possible speech changed and changed over the years. My speech today.
(From the Nobel lecture of Nobel Prize laureate A.I. Solzhenitsyn)

Subject: Workshop lesson « Syntactic means of expression. Figures of speech."

The purpose of the lesson: generalization of the studied material on the topic “Visual and expressive means of language”

Tasks:

Educational:repetition of terms; development of the ability to distinguish between tropes, stylistic figures and other means of expression; determining their role in the text;

Educational:development of students’ mental and speech activity, the ability to analyze, compare, classify, generalize, and logically correctly express their thoughts; continuation of work to reveal creative abilities, develop critical, imaginative thinking, and develop communication skills;

Educational:development of a system of value relations towards the native language; fostering a careful attitude towards the author’s word, a responsible attitude towards one’s own word, towards the culture of speech; improving ethical interpersonal communication skills.

Lesson equipment:

Computer and projector for presentation of educational material;

Worksheets for students;

Texts of assignments;

Method : heuristic, exploratory, problematic

Technology: TRKM

Interaction type: cooperation

I.Organizational moment. Recording the lesson topic

Syntactic means of expression

II. Introduction. Determining the purpose of the lesson.

– Every educated person, of course, should be able to evaluate speech behavior - his own and that of his interlocutors, and relate his speech to a specific communication situation.

Why is it that today, in the 21st century, journalists, scientists, linguists, psychologists, sociologists, writers, and teachers are especially acutely aware of speech problems and ask eternal Russian questions? What to do? And Who is guilty?

Why don’t people who don’t know their native language and litter it with what they consider “fashionable” words don’t feel ashamed?

Why is the opinion becoming popular that works of classical Russian literature do not have their own reader today?

Why? There are many questions. But the study of linguistics and literature, these important components of a humanitarian education, is one of the ways that allows us to master the mastery of human happiness and wisdom, and preserve culture.

Our native language, the richest, most accurate, powerful and truly magical Russian language, according to K. G. Paustovsky’s definition, is a unique, amazing phenomenon. The beautiful and the ugly coexist and are closely intertwined in it...

Continue the series of contrasts:

expressive – nondescript, strong – weak, correct – wrong, native – someone else's

majestic- bad, living– dead.

What problem is facing us, those who speak the language and who study it? Formulate the problem as a question:

how to make the language the best that there is in the world - beautiful, majestic, expressive?

– How is the problem related to the topic of the lesson? Find common ground between them.

(Means of expressive language are the path to expressive, figurative speech).

- Let's turn to the epigraph? How does it relate to the topic of the lesson?

1.Compiling a syncwine. Formulation of tasks

Artistic means serve to expressiveness and figurativeness of speech, which greatly facilitates the understanding and memorization of the text. They are called “flowers of eloquence””. There are a great variety of artistic means (about two hundred). These primarily include tropes, figures of speech, phraseological units, sayings, and aphorisms.

– Remember, when solving what educational tasks you need to know the means of expression, be able to qualify them, distinguish them, determine their role in the text, etc.?

What difficulties do you experience with this?

Reflect your thoughts, impressions, difficulties in syncwine, choose the wording of the topic: “Expressive means of language.”

There are many means of expression, so it is very difficult to develop the ability to see the totality of all the visual and expressive means of language that are used in the text, to qualify them and determine their role in fragments of the text, and to give examples correctly.

Sinkwine

Expressive means of language

They
Beautiful, lively (unusual...)
Decorate, describe, imitate

"The richness of language... the richness of thoughts." (N.M. Karamzin).
Treasures of speech (tropes)

Expressive means of languageThey
Incomprehensible, varied
I can’t find it, I can’t distinguish it, I can’t determine the role in the text
(complicate, confuse, puzzle)
“The riches of the Russian language are immeasurable...” (K.G. Paustovsky).
Problem

– What tasks will we set for ourselves to work on this topic in preparation for the Unified State Exam?

Repeat terms;

Correct the ability to find means of expression in a text, distinguish between types of tropes and syntactic means of expression;

Continue to develop the ability to determine the role of means of expression in the analyzed text.

This lesson should become an assistant in overcoming difficulties.

2. Repetition of means of expression -

1)Game " Question-answer". (Knowledge of literary terms is tested.)

The whole class takes part in the game. The first question is asked by the teacher to one of the students. For example: what is a hyperbole? The student gives a clear answer with an example and in turn asks another student a question, and so on, until the required material is repeated.

2) Now let’s practice identifying artistic funds

Crossword for 3 groups

III . Studying the topic of the lesson

The gray blizzard lulled me to sleep

The forest is deserted by a wild song,

And he fell asleep, covered in a blizzard,

All through, motionless and white.

I.A.Bunin

Find the studied means of expressive speech in an excerpt from a poem by I. A. Bunin, a Russian writer and poet of the late 19th century. 20th century. Working with literary text.

personification – lulled by the blizzard, he fell asleep (forest), epithets – gray blizzard, wild song, deserted forest

Describe the sentence in terms of syntax. On what grounds will you do this?

Name homogeneous members of the sentence. Can they be a means of expression? Why? Homogeneous sentence parts make the text more expressive. It is not just the object that is visible, but its individual details. The result is a complete picture of the picture.

Read an excerpt from a miniature by a Russian writer of the 20th century. Yuri Bondarev. What is the peculiarity of sentences with homogeneous members?

… nature gives a person the happy opportunity to feel the intimacy of dawn, the gentle beauty of sunset, the mystery of the night and the starry fury of the August sky. It helps to survive the inevitability of death, the grief of loss, fight loneliness, overcome despair, jealousy, powerlessness, forget hostility, envy, the deceit of friends, betrayal. (Yu. Bondarev.)

(In the union and non-union connection).

Non-union and polyunion are syntactic means of expressiveness.

Not because the mirror broke,

Not because the wind howled in the chimney,

Not because in the thought of you

Something else has already leaked, -

Not because of that, not because of that at all

I met him on the threshold

(A. Akhmatova).

Determine how sentences are connected in the text

Parallel communication; since a number of subsequent sentences expand and concretize the meaning of the previous one.)

How do you understand sentence parallelism? ( The same construction of adjacent sentences, the members of the sentence are arranged in the same sequence and expressed in the same forms.)

Conclusion . Parallelism of sentences is one of the syntactic means of expressiveness of speech.

In addition to homogeneous members of the sentence, syntactic means of expressiveness of speech are non-conjunction and multi-conjunction, parallelism of sentences. They create a special stylistic effect and add greater expressiveness to the text.

III. Introduction to figures of speech.

How are figures of speech different from tropes?

Tropes are lexical means based on the use of words in a figurative meaning.

Figures of speech are figures of speech associated with unusual syntactic construction, which the writer resorts to to enhance expressiveness.

There are A few dozens figures. Figures of speech have been created over millennia

2.Independent work on the table

Syntactic means of expression..

Figures of speech- these are figures of speech associated with an unusual syntactic structure, which the writer resorts to to enhance expressiveness.

Find a match

Inversion

figure of contrast, sharp opposition of objects, phenomena, properties

Both the rich and the poor, the wise and the foolish, the good and the evil sleep (A. Chekhov)

Ellipsis

repetition of the same words or phrases at the beginning of sentences

Doesn't The Overcoat predate modern realism? What is modern mysticism in literature? These are “Viy” and “Portrait”.

Gradation

A question-and-answer move is a segment of monologue speech that combines a rhetorical question and an answer to them; question-thought.

The speaker, guessing possible questions, formulates such questions himself and answers them.

Your mind is as deep as the sea.

Your spirit is as high as the mountains (V. Bryusov).

Anaphora(unity of command)

R dividing a phrase into parts or individual words, in which incomplete sentences appear following the main one.

A lonely sail turns white in the fog of the blue sea (M. Lermontov)

Parcellation

arrangement of words that violates the usual word order:

For your own sake child , for the sake of families , for your own sake people , for the sake of humanity – take care of the world!

A rhetorical question Rhetorical appeal

Rhetorical exclamation

default

arrangement of words in ascending or descending order of importance:

And again. Gulliver. Costs. Slouching.

(P. G. Antokolsky).

Antithesis

Same ending for several sentences

We are cities - to ashes, villages - to dust (V. Zhukovsky).

Hypophora

omission for stylistic purposes of any implied part of the sentence,

gives speech a rapid, dynamic character

All my life I've been going to you. All my life I believed into you. I've loved all my life you.

Epiphora

is posed not with the goal of getting an answer to it, but to draw attention to a particular phenomenon

P emphatic reference to someone or something

O marks the emotional semantic culmination of a segment (part) of speech

Do you know Ukrainian night?

Flowers, love, village, idleness, fields!

O times! O morals!

But listen: if I owe you...

I wield a dagger

I was born near the Caucasus.

3) Test work

4) Text analysis:

Read the text and complete the tasks

(According to D. Likhachev)

3 2) 4 3) 11 4) 17

answer: 17

24. “Speak so that I can see you,” the ancients wrote. The speech of an individual is not only an indicator of his mental development and outlook, but also an indicator of his general culture and moral qualities. D. Likhachev discusses this with his characteristic passion and desire to convince his young interlocutor. And syntactic means of expression help him in this: ________ (sentences 2-3); ________(sentences 3, 6, 9, 10, 15, etc.); _______ (“rude joke, irony, cynicism” - ascending; “fear, fear, apprehension” - descending); lexical means_______ (“flaunting”, “psychological vulnerability”, “demonstrates”, “intelligence”, “environmental influence”, etc.).”

List of terms:

antithesis

anaphora

comparison

personification

book vocabulary

gradation

citation

rows of homogeneous members

question and answer form

answer: 9865

IV. Summing up the lesson

Reflection.

What goals and objectives did we set for ourselves at the beginning of the lesson? What happened? What didn't work? What else remains to be worked on? What practical help did you receive in class today to prepare for the exam? What thoughts and statements of famous people particularly stuck in your mind and received an emotional response in your soul?

– In order to have an emotional impact and for aesthetic purposes, in order to create imagery and expressiveness, wordsmiths use means and techniques of expressive speech. You and I, language learners, must remember that our native word is the basis of our spirituality, our culture.

– In six months you will become school graduates, enter adulthood, you are responsible for the present and future of the Russian language. Listen. Think. Decide. What will it be like? Treat your native word as a “priceless gift”, as a treasure, let them always say about you: “This is a cultured person.” What kind of a cultured person is he?

V .Homework: write a mini-essay “ What kind of a cultured person is he? »

Appendix 1. Crossword

1 A

Horizontally:

1. A trope consisting in the use of a proper name in the meaning of a common noun. (Don Juan meaning “love adventure seeker”).

3. A word that defines an object or phenomenon and emphasizes its qualities, properties, features. “...From the oars to the shorecurly trail ran"

4. Type of trope, a way of transferring meaning through the contiguity of phenomena.

“You can just hear a lonely accordion wandering somewhere on the street.”

5. Definition of one object by comparing it with another.

« Like mountains, waves rose from the indignant depths..."

6. A turnover consisting of replacing the name of an object or phenomenon with a description of their essential features or an indication of their characteristic features

The wondrous genius has faded away like a torch,

The ceremonial wreath has faded. (M. Lermontov)

7. Allegorical depiction of an abstract concept using a concrete phenomenon of reality.

The fox is a symbol of cunning,

Wolf - anger and greed

8. A figurative expression containing an exorbitant exaggeration of size, strength, or meaning.

Khlestakov. Just don't talk. On the table, for example, there is a watermelon - a watermelon worth seven hundred rubles... And at that very moment there are couriers, couriers, couriers on the streets... you can imagine, thirty-five thousand couriers alone! (N.V. Gogol).

9. A trope that is the opposite of hyperbole and consists of a clearly implausible, exorbitant understatement of properties, qualities, attributes, sizes, strength, meaning, etc. any phenomenon.

And walking importantly, in decorous calm,
A man leads a horse by the bridle
In big boots, in a short sheepskin coat,
In big mittens... and from the nails myself!
(N.A. Nekrasov).

Vertically:

2. The use of a word in a figurative meaning based on the similarity in any respect of two objects or phenomena .

Appendix 2 text by D. Likhachev. Task 24

(1) Sloppiness in clothing is, first of all, disrespect for the people around you, and also disrespect for yourself.

(2) How should we evaluate our attitude towards the language we speak? (3) Language, even more than clothing, testifies to a person’s taste, his attitude towards the world around him, towards himself.

(4) There are various kinds of sloppiness in human language.

(5) Flaunting rudeness in language, as well as flaunting rudeness in manners, sloppiness in clothing, is a very common phenomenon, and it mainly indicates a person’s psychological insecurity, his weakness, and not at all his strength. (6) The speaker tries to suppress in himself with a crude joke, irony, cynicism the feeling of fear, apprehension, sometimes just apprehension. (7) By using rude nicknames from teachers, it is the weak-willed students who want to show that they are not afraid of them. (8) This happens semi-consciously. (9) I’m not even talking about the fact that it is a sign of bad manners, lack of intelligence, and sometimes cruelty... (10) Any slang, cynical expressions and swearing are based on their contempt for the traumatic phenomena in their life, that they bother, torment, excite them that they feel weak, not protected against them.

(11) A truly strong and healthy, balanced person will not speak loudly unnecessarily, will not swear or use slang words. (12) After all, he is sure that his word is already weighty.

(13) Our language is the most important part of our general behavior in life. (14) And by the way a person speaks, we can immediately and easily judge who we are dealing with: we can determine the degree of intelligence of a person, the degree of his psychological balance, the degree of his possible “complexity”...

(15) You need to learn good, calm, intelligent speech for a long time and carefully - listening, remembering, noticing, reading and studying. (16) But even though it is difficult, it is necessary. (17) Our speech is the most important part not only of our behavior (as I already said), but also of our personality, our souls, mind, our ability not to succumb to the influences of the environment if it is “dragging”.

(According to D. Likhachev)

Which sentence expresses the main idea of the author of the text?

3 2) 4 3) 11 4) 17

24 . “Speak so that I can see you,” the ancients wrote. The speech of an individual is not only an indicator of his mental development and outlook, but also an indicator of his general culture and moral qualities. D. Likhachev discusses this with his characteristic passion and desire to convince his young interlocutor. And the following help him in this: syntactic means expressiveness: ________ (sentences 2-3); ________(sentences 3, 6, 9, 10, 15, etc.); _______ (“rude joke, irony, cynicism” - ascending; "fear fear, apprehension" - descending); as well as the lexical means _______ (“flaunting”, “psychological vulnerability”, “demonstrates”, “intelligence”, “environmental influence”, etc.).”

List of terms:

1.antithesis

2.anaphora

3.comparison

4. personification

5.book vocabulary

6.gradation

7.quoting

8. rows of homogeneous members

9.question-answer form

Appendix 3.

Success list.

Mark the correctly (“+”) and incorrectly (“-”) completed tasks with signs:

Group No.

Task No. 1
Express survey on the “Question and Answer” theory

Task No. 2

Crossword

Exercise

№3

table

“Syntactic means of expression. Figures of speech"

Task No. 4

test

Expressiveness of Russian speech. Means of expression.

Visual and expressive means of language

TRAILS -using the word figuratively. Lexical argument

List of tropes	Meaning of the term	Example
Allegory	Allegory. A trope consisting in an allegorical depiction of an abstract concept using a concrete, life-like image.	In fables and fairy tales, cunning is shown in the form of a fox, greed - in the form of a wolf.
Hyperbola	A means of artistic representation based on exaggeration	Huge eyes, like spotlights (V. Mayakovsky)
Grotesque	Extreme exaggeration, giving the image a fantastic character	The mayor with a stuffed head at Saltykov-Shchedrin.
Irony	Ridicule, which contains an assessment of what is being ridiculed. A sign of irony is a double meaning, where the truth is not what is directly expressed, but its opposite, implied.	Where are you getting your head from, smart one? (I. Krylov).
Litotes	A means of artistic representation based on understatement (as opposed to hyperbole)	The waist is no thicker than a bottle neck (N. Gogol).
Metaphor, extended metaphor	Hidden comparison. A type of trope in which individual words or expressions are brought together by the similarity of their meanings or by contrast. Sometimes the entire poem is an expanded poetic image	With a sheaf of your oat hair You belong to me forever. (S. Yesenin.)
Metonymy	A type of trope in which words are brought together by the contiguity of the concepts they denote. A phenomenon or object is depicted using other words or concepts. For example, the name of the profession is replaced by the name of the instrument of activity. There are many examples: transfer from a vessel to its contents, from a person to his clothes, from a locality to residents, from an organization to participants, from an author to works	When will the shore of hell take me forever, When will Pero, my joy, fall asleep forever... (A. Pushkin.) I ate on silver and gold. Well, eat another plate, son.
Personification	Such an image of inanimate objects in which they are endowed with the properties of living beings, the gift of speech, the ability to think and feel	What are you howling about, wind? night, Why are you complaining so madly? (F. Tyutchev.)
Periphrase (or paraphrase)	One of the tropes in which the name of an object, person, phenomenon is replaced by an indication of its most characteristic features, enhancing the figurativeness of speech	King of beasts (instead of lion)
Synecdoche	A type of metonymy consisting in transferring the meaning of one object to another based on the quantitative relationship between them: part instead of the whole; whole in the meaning of part; singular in the meaning of general; replacing a number with a set; replacing a species concept with a generic concept	All flags will be visiting us. (A. Pushkin.); Swede, Russian stabs, chops, cuts. We all look at Nap oleons.
Epithet	Figurative definition; a word that defines an object and emphasizes its properties	The grove dissuaded golden with Birch's cheerful tongue.
Comparison	A technique based on comparing a phenomenon or concept with another phenomenon	The fragile ice lies on the chilly river like melting sugar. (N. Nekrasov.)

FIGURES OF SPEECH

A generalized name for stylistic devices in which a word, unlike tropes, does not necessarily have a figurative meaning. Grammatical argument.

Figure	Meaning of the term	Example
Anaphora (or unity)	Repetition of words or phrases at the beginning of sentences, poetic lines, stanzas.	I love you, Petra’s creation, I love your strict, slender appearance...
Antithesis	Stylistic device of contrast, opposition of phenomena and concepts. Often based on the use of antonyms	And the new so denies the old!.. It ages before our eyes! Already shorter than the skirt. It's already longer! The leaders are younger. It's already older! Kinder morals.
Gradation	(graduality) - a stylistic means that allows you to recreate events and actions, thoughts and feelings in the process, in development, in increasing or decreasing significance	I do not regret, do not call, do not cry, Everything will pass like smoke from white apple trees.
Inversion	Rearrangement; a stylistic figure consisting of a violation of the general grammatical sequence of speech	He passed the doorman like an arrow and flew up the marble steps.
Lexical repetition	Intentional repetition of the same word in the text	Forgive me, forgive me, forgive me! And I forgive you, and I forgive you. I don’t hold any grudges, I promise you that, But only you will forgive me too!
Pleonasm	Repetition of similar words and phrases, the intensification of which creates a particular stylistic effect.	My friend, my friend, I am very, very sick.
Oxymoron	A combination of words with opposite meanings that do not go together.	Dead souls, bitter joy, sweet sorrow, ringing silence.
Rhetorical question, exclamation, appeal	Techniques used to enhance the expressiveness of speech. A rhetorical question is asked not with the goal of getting an answer, but for the emotional impact on the reader. Exclamations and addresses enhance emotional perception	Where will you gallop, proud horse, and where will you land your hooves? (A. Pushkin.) What a summer! What a summer! Yes, this is just witchcraft. (F. Tyutchev.)
Syntactic parallelism	A technique consisting in similar construction of sentences, lines or stanzas.	I lookI look at the future with fear, I look at the past with longing...
Default	A figure that leaves the listener to guess and think about what will be discussed in a suddenly interrupted statement.	You'll be going home soon: Look... So what? my To tell the truth, no one is very concerned about fate.
Ellipsis	A figure of poetic syntax based on the omission of one of the members of a sentence, easily restored in meaning	We turned villages into ashes, cities into dust, and swords into sickles and plows. (V. Zhukovsky.)
Epiphora	A stylistic figure opposite to anaphora; repetition of a word or phrase at the end of poetic lines	Dear friend, and in this quiet At home. The fever hits me. I can't find a quiet place HomeNear the peaceful fire. (A. Blok.)

VISUAL POSSIBILITIES OF VOCABULARY

Lexical argument

Terms	Meaning	Examples
Antonyms, contextual antonyms	Words with opposite meanings. Contextual antonyms - it is in the context that they are opposite. Outside the context, this opposition is lost.	Wave and stone, poetry and prose, ice and fire... (A. Pushkin.)
Synonyms, contextual synonyms	Words that are close in meaning. Contextual synonyms - it is in the context that they are close. Without context, intimacy is lost.	To desire - to want, to have a desire, to strive, to dream, to crave, to hunger
Homonyms	Words that sound the same but have different meanings.	Knee - a joint connecting the thigh and lower leg; passage in birdsong
Homographs	Different words that match in spelling but not in pronunciation.	Castle (palace) – lock (on the door), Flour (torment) – flour (product)
Paronyms	Words that are similar in sound but different in meaning	Heroic - heroic, double - dual, effective - valid
Words in figurative meaning	In contrast to the direct meaning of the word, which is stylistically neutral and devoid of imagery, the figurative meaning is figurative and stylistically colored.	Sword of justice, sea of light
Dialectisms	A word or phrase that exists in a certain area and is used in speech by the residents of this area	Draniki, shanezhki, beetroot
Jargonisms	Words and expressions that are outside the literary norm, belonging to some kind of jargon - a type of speech used by people united by common interests, habits, and activities.	Head - watermelon, globe, pan, basket, pumpkin...
Professionalisms	Words used by people of the same profession	Galley, boatswain, watercolor, easel
Terms	Words intended to denote special concepts of science, technology, and others.	Grammar, surgical, optics
Book vocabulary	Words that are characteristic of written speech and have a special stylistic connotation.	Immortality, incentive, prevail...
Prostorechnaya vocabulary	Words, colloquial use, characterized by some roughness, reduced character.	Blockhead, fidgety, wobble
Neologisms (new words)	New words emerging to represent new concepts that have just emerged. Individual author's neologisms also arise.	There will be a storm - we will argue And let's be brave with her.
Obsolete words (archaisms)	Words displaced from modern language others denoting the same concepts.	Fair - excellent, zealous - caring, stranger - foreigner
Borrowed	Words transferred from words in other languages.	Parliament, Senate, deputy, consensus
Phraseologisms	Stable combinations of words, constant in their meaning, composition and structure, reproduced in speech as entire lexical units.	To be disingenuous - to be a hypocrite, to beat the crap - to mess around, to hastily - quickly

EXPRESSIVE-EMOTIONAL VOCABULARY

Conversational.	Words that have a slightly reduced stylistic coloring compared to neutral vocabulary, are characteristic of spoken language, and are emotionally charged.	Dirty, loud, bearded
Emotionally charged words	Estimatedcharacter, having both positive and negative connotations.	Adorable, wonderful, disgusting, villain
	Words with suffixes of emotional evaluation.	Cute, little bunny, little brain, brainchild

PICTURE POSSIBILITIES OF MORPHOLOGY

Grammatical argument

1. Expressive usage case, gender, animation, etc.	Something air it is not enough for me, I drink the wind, I swallow the fog... (V. Vysotsky.) We are relaxing in Sochach. How many Plyushkins divorced!
2. Direct and figurative use of verb tense forms	I'm comingI went to school yesterday and I see announcement: “Quarantine.” Oh and was delighted I!
3. Expressive use of words from different parts of speech.	Happened to me most amazing story! I got unpleasant message. I was visiting at her place. The cup will not pass you by this.
4. Use of interjections and onomatopoeic words.	Here's closer! They gallop... and into the yard Evgeniy! "Oh!"- and lighter than the shadow Tatyana jump to the other entrance. (A. Pushkin.)

SOUND EXPRESSIVENESS

Means	Meaning of the term	Example
Alliteration	A technique for enhancing imagery by repeating consonant sounds	Hissingfoamy glasses and blue flames of punch...
Alternation	Alternation of sounds. Change of sounds that occupy the same place in a morpheme in different cases of its use.	Tangent - touch, shine - shine.
Assonance	A technique to enhance imagery by repeating vowel sounds	The thaw is boring to me: the stench, the dirt, in the spring I am sick. (A. Pushkin.)
Sound recording	A technique for enhancing the visual quality of a text by constructing phrases and lines in such a way that would correspond to the reproduced picture	For three days I could hear how on a boring, long road They tapped the joints: east, east, east... (P. Antokolsky reproduces the sound of carriage wheels.)
Onomatopoeia	Using the sounds of language to imitate the sounds of living and inanimate nature	When the mazurka thunder roared... (A. Pushkin.)

PICTURE POSSIBILITIES OF SYNTAX

Grammatical argument

1. Rows of homogeneous members of a sentence.	When empty And weak a person hears flattering feedback about his dubious merits, he revels in with your vanity, gets arrogant and completely loses your tiny ability to be critical of your own actions and to your person.(D. Pisarev.)
2. Sentences with introductory words, appeals, isolated members.	Probably,there, in their native places, just as in my childhood and youth, the ashes bloom in the swampy backwaters and the reeds rustle, who made me, with their rustling, their prophetic whispers, that poet, who I have become, who I was, who I will be when I die. (K. Balmont.)
3. Expressive use of sentences of various types (complex, complex, non-union, single-component, incomplete, etc.).	They speak Russian everywhere; this is the language of my father and my mother, this is the language of my nanny, my childhood, my first love, almost all moments of my life, which entered my past as an integral property, as the basis of my personality. (K. Balmont.)
4. Dialogic presentation.	- Well? Is it true that he is so good-looking? - Surprisingly good, handsome, one might say. Slender, tall, blush all over his cheek... - Right? And I thought his face was pale. What? What did he look like to you? Sad, thoughtful? - What do you? I've never seen such a mad person in my life. He decided to run with us into the burners. - Run into the burners with you! Impossible!(A. Pushkin.)
5. Parcellation - a stylistic technique of dividing a phrase into parts or even individual words in a work in order to give the speech intonation expression through its abrupt pronunciation. Parcel words are separated from each other by dots or exclamation marks, subject to other syntactic and grammatical rules.	Liberty and Fraternity. There will be no equality. Nobody. No one. Not equal. Never.(A. Volodin.) He saw me and froze. Numb. He fell silent.
6. Non-union or asyndeton - deliberate omission of conjunctions, which gives the text dynamism and swiftness.	Swede, Russian stabs, chops, cuts. People knew: somewhere, very far from them, there was a war going on. To be afraid of wolves, don’t go into the forest.
7. Polyconjunction or polysyndeton - repeating conjunctions serve to logically and intonationally emphasize the parts of the sentence connected by the conjunctions.	The ocean walked before my eyes, and swayed, and thundered, and sparkled, and faded, and glowed, and went somewhere into infinity. I will either burst into tears, or scream, or faint.

Tests.

1. Choose the correct answer:

1) On that white April night Petersburg I saw Blok for the last time... (E. Zamyatin).

a) metaphorb) hyperbole) metonymy

2.You'll freeze in the shine of moonlight,

You're moaning, doused with foam wounds.

(V. Mayakovsky)

a) alliterationb) assonancec) anaphora

3. I drag myself in the dust and soar in the skies;

Strange to everyone in the world - and ready to embrace the world. (F. Petrarch).

a) oxymoronb) antonymc) antithesis

4. Let it fill up with years

life quota,

costs

only

remember this miracle

tears apart

mouth

yawn

wider than the Gulf of Mexico.

(V. Mayakovsky)

a) hyperbolab) litotav) personification

5. Choose the correct answer:

1) It was drizzling with beaded rain, so airy that it seemed that it did not reach the ground and mist of water mist floated in the air. (V. Pasternak).

a) epithetb) similec) metaphor

6.And in autumn days The flame that flows from life and blood does not go out. (K. Batyushkov)

a) metaphorb) personificationc) hyperbole

7. Sometimes he falls in love passionately

In my elegant sadness.

(M. Yu. Lermontov)

a) antithesis) oxymoronc) epithet

8.The diamond is polished with a diamond,

The line is dictated by the line.

a) anaphora b) comparison c) parallelism

9. At the mere suggestion of such a case, you would have to tear out the hair from your head by the roots and let go streams... what am I saying! rivers, lakes, seas, oceans tears!

(F.M. Dostoevsky)

a) metonymy b) gradation c) allegory

10. Choose the correct answer:

1) Black tailcoats rushed about separately and in heaps here and there. (N. Gogol)

a) metaphorb) metonymy c) personification

11. The quitter sits at the gate,

With my mouth wide open,

And no one will understand

Where is the gate and where is the mouth.

a) hyperbolab) litotav) comparison

12. C insolent modesty looks into the eyes. (A. Blok).

a) epithetb) metaphorc) oxymoron

Option	Answer

To enhance the expressiveness of the text, a variety of structural, semantic and intonation features of syntactic units of language (phrases and sentences), as well as features of the compositional structure of the text, its division into paragraphs, and punctuation design can be used.

The most significant expressive means of syntax are:

Syntactic sentence structure and punctuation marks;

Special syntactic means of expression (figures);

Special techniques of compositional and speech design of the text (question-answer form of presentation, improperly direct speech, quotation, etc.).

Syntactic sentence structure and punctuation marks

From the point of view of the syntactic structure of a sentence, the following are especially important for the expressiveness of the text:

grammatical features of a sentence: whether it is simple or complex, two-part or one-part, complete or incomplete, uncomplicated or complicated (i.e., containing series of homogeneous members, isolated members of a sentence, introductory words or addresses);

type of sentence according to the purpose of the statement: narrative, interrogative, incentive;

characterization of a sentence by emotional coloring: non-exclamatory - exclamatory.

Any of the listed grammatical features of a sentence can acquire special semantic significance in the text and be used to strengthen the author’s thoughts, express the author’s position, and create imagery.

Interrogative, motivating and exclamatory sentences can also emphasize and strengthen certain aspects of the author’s thoughts, assessments and emotions.

For example, in a poem by A. A. Akhmatova:

Why are you pretending

Either by the wind, or by a stone, or by a bird?

Why are you smiling

To me a sudden lightning from the sky?

Don't torment me anymore, don't touch me!

Let me go to prophetic concerns...

The role of punctuation marks as expressive means in the text is determined, first of all, by their ability to convey a variety of shades of thoughts and feelings of the author: surprise (question mark), doubt or special emotional tension (ellipses), joy, anger, admiration (exclamation mark). A dot can emphasize the neutrality of the author’s position, a dash can add dynamism to a phrase, or, conversely, pause the narrative. For the semantic content of a text that includes a complex non-union sentence, the nature of the punctuation mark between parts of this sentence, etc., matters.

A special role in creating the expressiveness of the text is played by the author’s punctuation marks, which do not correspond to generally accepted punctuation rules, violate the automaticity of perception of the text and serve the purpose of enhancing the semantic or emotional significance of one or another fragment of it, focusing the reader’s attention on the content of a concept, image, etc. P.

Special expressive means of syntax (figures)

Figures (rhetorical figures, stylistic figures, figures of speech) are stylistic devices based on special combinations of words that go beyond the scope of ordinary practical use, and aimed at enhancing the expressiveness and figurativeness of the text.

The main figures of speech include rhetorical question, rhetorical exclamation, rhetorical appeal, repetition, syntactic parallelism, polyunion, non-union, ellipsis, inversion, parcellation, antithesis, gradation, oxymoron, nominative themes.

A rhetorical question is a figure in which a statement is contained in the form of a question. A rhetorical question does not require an answer; it is used to enhance the emotionality, expressiveness of speech, and to attract the reader’s attention to a particular phenomenon:

Why did he give his hand to insignificant slanderers,

Why did he believe false words and caresses,

He, who has comprehended people from a young age?.. (M. Yu. Lermontov);

A rhetorical exclamation is a figure in which a statement is contained in the form of an exclamation. Rhetorical exclamations enhance the expression of certain feelings in a message; they are usually distinguished not only by special emotionality, but also by solemnity and elation:

That was on the morning of our years -

Oh happiness! oh tears!

O forest! oh life! oh sunshine!

O fresh spirit of birch. (A.K. Tolstoy);

Rhetorical appeal is a stylistic figure consisting of an emphasized appeal to someone or something to enhance the expressiveness of speech. It serves not so much to name the addressee of the speech, but rather to express the attitude towards what is said in the text. Rhetorical appeals can create solemnity and pathosity of speech, express joy, regret and other shades of mood and emotional state:

My friends! Our union is wonderful.

He, like the soul, is uncontrollable and eternal (A.S. Pushkin);

Rhetorical questions, rhetorical exclamations and rhetorical appeals as means of linguistic expressiveness are widely used in journalistic and literary texts. The mentioned figures are also possible in texts of scientific and colloquial styles, but are unacceptable in texts of official business style.

Repetition (positional-lexical repetition, lexical repetition) is a stylistic figure consisting of the repetition of any member of a sentence (word), part of a sentence or a whole sentence, several sentences, stanzas in order to attract special attention to them.

“You are still young, very young!” - Ivan Ignatievich sighed. (V.F. Tendryakov);

Varieties of repetition are anaphora, epiphora and pickup.

Anaphora (in translation from Greek - ascent, rise), or unity of beginning, is the repetition of a word or group of words at the beginning of lines, stanzas or sentences:

The hazy afternoon lazily breathes,

The river rolls lazily.

And in the fiery and pure firmament

The clouds are melting lazily (F. I. Tyutchev)

Epiphora (in translation from Greek - addition, final sentence of a period) is the repetition of words or groups of words at the end of lines, stanzas or sentences:

Although man is not eternal,

That which is eternal is human.

What is a day or an age?

Before what is infinite?

Although man is not eternal,

What is eternal is human (A. A. Fet)

Picking up is the repetition of any segment of speech (sentence, poetic line) at the beginning of the corresponding segment of speech following it:

He fell onto the cold snow,

On the cold snow, like a pine tree,

Like a pine tree in a damp forest (M. Yu. Lermontov)

Various types of repetitions as a means of enhancing the expressiveness of the text are widely used in artistic, journalistic and colloquial styles of speech. In order to attract attention to any phenomenon or concept, repetition can also be used in scientific, business and official business styles.

Parallelism (syntactic parallelism) (in translation from Greek - going side by side) - identical or similar construction of adjacent parts of the text: adjacent sentences, poetic lines, stanzas, which, when correlated, create a single image:

I look at the future with fear,

I look at the past with longing... (M. Yu. Lermontov)

Syntactic parallelism as a means of linguistic expressiveness is characteristic of artistic and journalistic styles of speech. In scientific and official business styles, the named stylistic figure is used as one of the means of logical highlighting.

It should be taken into account that, in addition to syntactic parallelism, there is compositional parallelism. It is based on the similarity of plot lines and semantic parallelism between parts of the text. For example, a description of a change in nature may precede a description of a change in the character’s internal state.

Polyconjunction (polysyndeton) is a repetition of conjunctions that is redundant from a grammatical point of view, felt as superfluous and used as an expressive means:

How strange, and alluring, and carrying, and wonderful is the word: road! And how wonderful this road itself is (N.V. Gogol)

Polyunion can be used as a means of increasing the semantic significance of the listed elements, giving the speech a solemn tone and emotional elation.

Non-union (asyndeton) - deliberate omission of conjunctions between homogeneous members of a sentence or parts of a complex sentence:

The booths and women flash past,

Boys, benches, lanterns,

Palaces, gardens, monasteries... (A.S. Pushkin);

Non-union as a stylistic device is used to enhance the figurativeness of speech, as well as to enhance the semantic opposition of the components of the statement and increase the expressiveness of the text.

The first of these functions is characteristic of non-union in the artistic style of speech, the second - for non-union in the journalistic style.

Non-union and multi-union as expressive means are used in artistic, journalistic and colloquial styles of speech.

Ellipsis (in translation from Greek - lack, lack) is a stylistic device consisting in the deliberate (deviating from the neutral norm) omission of any member or part of a sentence:

Here I am with a broadsword! - shouted a courier galloping towards him with a mustache as long as an arshin (N.V. Gogol);

With ellipsis, the predicate verb is most often omitted, which gives the text special expressiveness and dynamism, emphasizing the swiftness of the action and the intensity of the hero’s mental state.

Ellipsis can also be expressed in the omission of other members of the sentence, including the entire predicative basis:

And if the poet gets too tired

Moscow, plague year, nineteenth,

Well, we can live without bread!

It doesn’t take long from the roof to the sky (M. I. Tsvetaeva);

In addition to creating a special expressiveness of the text, ellipsis can also perform other stylistic functions:

Give the beginning of the text (beginning) an intriguing character:

After lunch, we left the brightly and hotly lit dining room on the deck and stopped at the railing (I. A. Bunin);

Inversion (in translation from Greek - rearrangement, turning over) is a change in the usual order of words in a sentence in order to emphasize the semantic significance of any element of the text (word, sentence), giving the phrase a special stylistic coloring: solemn, high-sounding or , on the contrary, conversational, somewhat reduced characteristics.

The following combinations are considered inverted in Russian:

The agreed definition comes after the word being defined:

I am sitting behind bars in a damp dungeon (M. Yu. Lermontov);

Additions and circumstances expressed by nouns come before the word to which they relate:

The clock strikes monotonously (the clock strikes monotonously);

The predicate comes before the subject, known from the previous context (the subject is the “given” in the sentence, and the predicate is “new”):

Silence is dear to the Circassians,

Dear dear side,

But liberty, liberty for the hero

Miles from the Fatherland and Peace (M. Yu. Lermontov);

As means of linguistic expressiveness, ellipsis and inversion are widely used in artistic and journalistic styles. They are unacceptable in official business and scientific styles of speech (with the exception of popular science).

Parcellation (in translation from French - particle) is a stylistic device that consists in dividing a single syntactic structure of a sentence into several intonational and semantic units - phrases. At the point where the sentence is divided, a period, exclamation and question marks, and an ellipsis can be used.

In the morning, bright as a splint. Scary. Long. Ratnym. The rifle regiment was defeated. Our. In an unequal battle (R. Rozhdestvensky);

Parceling can enhance the expressiveness of the text, highlighting any details of the overall picture, emphasizing the significance of certain parts of the statement that are most important from the author’s point of view, and conveying the author’s attitude to what is being communicated.

Parcellation is typical for literary, journalistic and colloquial texts. It is unacceptable in scientific and official business texts.

Gradation (in translation from Latin - gradual increase, strengthening) is a technique consisting in the sequential arrangement of words, expressions, tropes (epithets, metaphors, comparisons) in the order of strengthening (increasing) or weakening (decreasing) of a characteristic.

Increasing gradation is usually used to enhance the imagery, emotional expressiveness and impact of the text:

I called you, but you didn't look back,

I shed tears, but you did not condescend (A. A. Blok);

Descending gradation is used less frequently and usually serves to enhance the semantic content of the text and create imagery:

He brought mortal resin

Yes, a branch with withered leaves. (A.S. Pushkin)

It should be taken into account that the gradation technique is based on a change in the attribute along an abstract quantity scale (up: average - more - a lot - a lot; down: a lot - less - a little - very little) and an abstract rating scale (with a positive assessment: good - fairly good - very good - excellent - above the norm; with a negative assessment: bad - quite bad - very bad - disgusting):

Lace, stone, be

And become a web:

Heaven's empty chest

Use a thin needle to wound. (O. E. Mandelstam)

Gradation as a means of expressiveness is used in artistic, journalistic and colloquial styles of speech.

Antithesis (translated from Greek as opposition) is a turn in which opposing concepts, positions, and images are sharply contrasted. To create an antithesis, antonyms are usually used - general linguistic and contextual:

You are rich, I am very poor,

You are a prose writer, I am a poet (A.S. Pushkin);

Antithesis is used to enhance the expressiveness of speech, emphasizing contrasting images, contrasting assessments. Antithesis, like gradation, is characteristic primarily of artistic and journalistic texts.

An oxymoron (in translation from Greek - witty-stupid) is a stylistic figure in which usually incompatible concepts are combined, usually contradicting each other (bitter joy, ringing silence, etc.); in this case, a new meaning is obtained, and speech acquires special expressiveness:

But their beauty is ugly

I soon comprehended the mystery. (M. Yu. Lermontov)

An oxymoron as a means of enhancing the expressiveness of a text is permissible only in journalistic and artistic styles.

Nominative topics (segmented syntactic construction) is a stylistic figure, which is a construction divided into two parts, in which the first part denotes a concept that is relevant to the speaker or writer (the topic of the message), and the second part contains some statement about this concept. The first part of the nominative topic can be represented by a word, a combination of words, a sentence, or even several sentences:

Night, street, lantern, pharmacy,

Pointless and dim light.

Live for at least another quarter of a century...

Everything will be like this. There is no outcome. (A. A. Blok)

The expressive functions of the nominative theme are associated with its ability to highlight the most significant parts of the text, attract the attention of the reader or listener to them, and also give speech a special pathosity and expressiveness.

The nominative theme is widely used in literary and journalistic texts, in colloquial speech, as well as in works of popular science.

§5. Paralinguistic means of expression

The expressiveness of oral speech is facilitated, along with linguistic ones, by paralinguistic (non-linguistic) means: gestures, facial expressions, pantomime. They are usually associated with a specific statement and serve as a complement to linguistic means of expressiveness.

Accompanying speech, paralinguistic means enhance the shades of emotional coloring of words, complement intonation, emphasize the necessary semantic parts of the statement, and illustrate the thought expressed in words. Their main purpose is to clarify thoughts, revive them, and enhance the emotional sound of speech. Emotional speech in any sphere of communication, as a rule, is accompanied by corresponding gestures, body movements and facial expressions that convey certain feelings.

We can distinguish general and individual paralinguistic means. The first ones are specific to all speakers of the Russian language, for example, agreement can be accompanied by a movement of the head from top to bottom, disagreement or denial - by moving the head from side to side, persistence, demandingness - by moving a clenched fist from top to bottom, etc. Individual paralinguistic means are different for different representatives, even of the same nationality: each speaker finds his own gesture, his own body movements, each has an individual facial expression. A successfully found expressive gesture that corresponds to the meaning of a statement or a single word increases the effectiveness of speech.

Gestures are an integral part of oratory, where they are used as a means of influencing listeners. It is no coincidence that special chapters were devoted to gestures in oratory in various rhetorics, starting from ancient times.

Paralinguistic means also play an important role in ordinary communication, expressing the speaker’s various emotions, enhancing the meaning of words, expressions and statements in general.

Theorists of oratory note that gestures, body movements, and facial expressions are only expressive and effective when they are varied (different words require different emphasis), moderate (the more sparing the gestures, the more convincing they are), and involuntary; when they correspond to the spiritual impulses of the speaker and the content of the utterance. Excessive expressiveness of the face, frequent repetition of the same gestures, their monotony, mechanical body movements (swaying the body, waving the hand, tapping the foot, etc.), as well as the artificiality, artificiality of gestures, their inconsistency with the meaning of what was said, irritate listeners and distract them from the content of speech. Paralinguistic means should not replace words, since they are always poorer than words. It’s not for nothing that popular wisdom says: “If you can’t explain it with words, then you can’t open it with your fingers.”

The skillful use of linguistic and paralinguistic means of expressiveness contributes to the individualization of speech, its brightness, originality, which, in turn, arouses interest in the personality of the author and increases attention to the content of his statement. The ability to use the expressive capabilities of language requires not only knowledge, but also a developed linguistic-stylistic sense, as well as skills in using linguistic units in speech.

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Elena Buzina

Syntactic means of artistic representation

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