EntranceGenres of speech communication - abstract. Genres of public speech Secondary speech genre
The theory of speech communication, or “metalinguistics” as Bakhtin called it, was the topic of his work for decades. Already in the works of the 20s - “The problem of content, material and form in verbal artistic creativity” (1924/1979), “The word in life and the word in poetry” (1926), “Marxism and the philosophy of language” (1929), “ The Construction of the Statement" (1930), "Problems of Dostoevsky's Creativity" (1929) - contain a core of ideas that can form a completely complete and original theory. In later years, Bakhtin deepens and complements it - see “The Word in the Novel” (1935/1975), “Problems of Speech Genres” (1953/1979), notes “The Problem of Text” (1959-1961/1979), notes 1970- 1971 (1979). At the same time, the essence of the theory does not change, which allows it to be presented as a single whole.
Bakhtin believes that any use of language is carried out within the framework of a certain speech genre (SG): the genre is a necessary condition for communication, creation and interpretation of texts. In fact, M. M. Bakhtin claims that we speak in certain speech genres.
So, this basic idea of M.M. Bakhtin is reflected in one of his most frequently cited provisions, namely: “We speak only in certain speech genres, that is, all our utterances have certain relatively stable typical forms of constructing the whole. We have a rich repertoire of oral (and written) speech genres.<...>Even in the freest and most relaxed conversation, we cast our speech according to certain genre forms, sometimes cliched and stereotyped, sometimes more flexible, plastic and creative. These speech genres are given to us almost in the same way as our native language is given to us.”
M. M. Bakhtin defines speech genre as a relatively stable type of utterance developed by a specific area of language use. “Each individual utterance, of course, is individual, but each sphere of language use develops its own relatively stable types of such utterances, which we call speech genres” [ibid., p. 159]. The researcher emphasizes the relative nature of the stability of speech genres: some genre forms are quite standardized, and their use is reduced to mechanical reproduction, while others are “much more flexible and plastic” [ibid., p. 181]. Speech genres are characterized by a trinity of thematic content, composition and style.
Genres of speech, according to the concept of M. M. Bakhtin, are typical forms of statements. The defining features of a speech genre are purposefulness, integrity and completeness, as well as connection with a specific sphere of communication.
Speech genres are divided into:
1. primary (simple). They arise in conditions of direct communication.
2. secondary (complex). They develop in conditions of more complex cultural communication (primarily written): artistic, scientific, socio-political, etc. Secondary speech genres, for example, novels, dramas, scientific studies of various kinds, in the process of their formation absorb and process primary speech genres.
The idea of speech genres M.M. Bakhtin.
Primary and secondary cultivated genres.
Theory of speech acts.
Typology of primary speech genres (T.V. Shmeleva): informative, imperative, evaluative, etiquette. Speech genre questionnaire. Genre construction – genre clichés.
Repertoire of speech genres. Etiquette speech genre of apology.
Speech genre- this is “a typical model for constructing a speech whole” (M.M. Bakhtin). Intuitive definition of speech genre, everyday conversational: by situation, intonation, vocabulary, etc.
Approaches to determining speech genre:
Lexical (naming speech actions with corresponding lexemes - inform, tell, talk, chat, joke, threaten, order, warn etc.);
Stylistic (definition of totality features of composition, text vocabulary, word-formation, grammatical, syntactic elements);
From point of view speech model, utterance construction schemes.
The idea of M.M. Bakhtin about primary (characteristic of natural language) and secondary genres of speech (those developed by literature, science, journalism). The speech genre can become “complicated” - from an everyday replica (primary) to a novel (secondary).
Speech genre questionnaire: 1) communicative goal; 2) the author's concept; 3) concept of addressee; 4) event content (dictum); 5) factor of the past; 6) future factor; 7) linguistic embodiment.
Typology of primary speech genres (T.V. Shmeleva) according to communicative purpose:
Informative- the communicative purpose of which in the world of information: report, request etc.;
Imperative– the goal of these genres is in the world of real actions, to encourage the interlocutor to take some action: order, ban, request;
Estimated – the communicative goal of these genres is in the world of personal sensations: reproach, approve or cause a change in the emotional state of the participants in the situation through comparison with a reference scale of actions, words, behavior, etc.);
Label– the purpose of which is to comply with the rules of coexistence in society: to greet, thank etc..
Etiquette speech genre of apology(description experience).
The etiquette speech genre (hereinafter referred to as ESR) of apology is characterized by the following: the addressee evaluates the speaker’s behavior as negative and assumes that the other participant in the situation responsible his negative state . According to etiquette, the speaker who initiated the negative action must apologize, for example: He shrugged his shoulders energetically and, shaking his cheeks, leaned back in his chair. Wherein fixed table , his cup jumped in a saucer and capsized. - Sorry ...- Malyanov grumbled absentmindedly(A. Strugatsky, B. Strugatsky. Day of the Eclipse). The “guilt” component is essential for the ERG of an apology and is a condition for success in Russian speech communication. If the speaker is not responsible for actions for objective reasons or cannot influence them, he can “deflect” the apology using an RJ message (informative). It has been noticed that the speaker can present even ordinary communicative actions as requiring a special expenditure of effort from the addressee: apologies for concern, for requests, etc., such actions are implemented by the technique "false significance", For example: The one sitting at our table is ruddy, the bright-eyed man suddenly turned to me. (...) - Sorry for interfering , - he said. - But I can't help but say: I read your articles, and they delight me! (V. Popov. A mistake that will destroy us). Recently, in Russian speech communication there has been a tendency to use Sorry in neutral situations " instead of the traditional frame, stimulus (please, be kind, say and under.) + reaction (words of gratitude)".
Etiquette prescribes the mandatory use of an apology in relationships equal/peer, senior/subordinate (junior): the subordinate (junior) always apologizes to the senior; when this does not happen, then either a cessation of communication follows, or the author is assigned a reputation as a rude or ill-mannered person. The speaker, explaining his behavior, can refer as an argument not only to shortcomings of upbringing, age, but also to special circumstances or the state of the author, which make it possible to forgive his actions: Victoria. Senya, I'm sorry! I don’t even know how it came out of me! (A. Chervinsky. “My happiness...”). The feeling of “guilt” forces the speaker to apologize for actions that he did not commit if he considers himself responsible for the negative state of the addressee: How-that evening I had to call a work colleague on my home phone. To my surprise, his wife, previously distinguished by gentleness and intelligence, hung up saying: « It will never be for you». The next day colleague apologized , having explained, that my wife confused me With some special(Elle. 1997. No. 4).
A special case of ERG apology - meta-apology brought by the speaker for violating the rules of conduct, decency and his speech behavior, or rather, violation of the rules of speech behavior - (E.A. Zemskaya, E.N. Shiryaev), for example: So « canine philology» - not bullshit at all, sorry for the pun" (Evening Krasnoyarsk. 1994. November 17).
The speaker tries to “anticipate” negative actions, so an apology may follow for actions that did not occur: Checkered (...) I apologize generously if I offended anyone. There was no such intention
The addressee, as the injured party, can evaluate the author’s actions in different ways: 1) the addressee forgives the author, he can say this or remain silent, but show by his behavior that he has forgiven; 2) the addressee negatively evaluates the speaker’s actions, but does not demand an apology for them, since such actions are part of the author’s “image,” for example: I've known Otar for quite a long time. In life this is kind, intelligent person. (...) It is on fried facts, harsh statements on the verge of a foul, he's on cynicism And made a name for himself. Interesting, that Russian performers forgave him everything, And often after a devastating review by Otar V in the nightclub one could observe a peaceful conversation « offender and offended." Kushanashvili fit well into the mores of musical society(Koms. Pravda. 1997. January 23); 3) the addressee believes that the author has caused him serious harm, therefore cannot be satisfied with a simple apology, demands a public apology or goes to court: Glazunov was filed V court (...) He now runs after us, asks for an apology, writes letters. (Koms. Pravda. 1997. February 21).
The addressee may not accept the author’s apology, since he believes that the apology cannot change his negative emotional state or correct the existing one, this is evidenced by not entirely etiquette statements: I don't need your apology; What difference will your apology make?
There may be cases when the assessment of the situation is influenced by a third participant-observer, who has his own assessment of the situation, event-cause or behavior of the speaker: he can simply express this to the author, or may demand an apology from him in favor of the addressee, in such cases the observer’s position in situations are always higher than the position of the author: Everyone is silent. And in this silence, suddenly a piercing doorbell rings. Everyone freezes. (...) Felix. I think the neighbor is upstairs. I think you're yelling too much here. Ivan Davydovich. Go ahead and apologize. No unnecessary words. And generally nothing superfluous. Captain, follow me(A. Strugatsky, B. Strugatsky. Five spoons of Elixir).
For a minor offense, for concern, requests, violation of the rules of decency, the speaker apologizes using the formula Sorry) . For actions or actions that had serious consequences for the addressee or influenced his life, the speaker apologizes using the formula Sorry) .
Standard situations in which a negative assessment is “planned” are implemented, as a rule, without apology. The close relationships of communicants allow them a certain communicative “liberty” - ignoring accepted etiquette formulas.
The communicative future factor presupposes a mandatory verbal response from the addressee, which will be a perlocutionary effect (hereinafter referred to as PE) on the ERL of the apology. The act of forgiveness is served by “formular” expressions like: Nothing, nothing; It's OK; What nonsense(A.A. Akishina, N.I. Formanovskaya): - Sorry, please, it's really very difficult with her. - Nothing, Nothing, I understand! (T. Tolstaya. If you love, you don’t love).
Of particular interest are unplanned PE when there is a departure from the standard scenario:
1. If forgiveness is not followed, then the act of apology is not considered completed and requires repetition, for example: - Well, excuse me, please,” Kuzmicheva said, throwing up her hands. Her face became guilty. Galina Petrovna was silent. - I'm sorry , Kuzmicheva said almost crying(K. Simonov. The case of Polynin).
3. The addressee accepts the apology, but there is no PE, since an apology can no longer change anything in the life of the addressee, for example, a conversation between an editor and a writer: “The whole manuscript as a whole is not sterile, it will not pass in the first instance, I don’t even know what to do, excuse me" “Calm down, I’m not very upset... (...) Give you some water, calm down and take an example from me, look, I’m not at all upset, as always I smile (...) although all my hopes are here, and your publishing house - the last thing you could count on(...) A now I All equals..." (L. Vaneeva. Between Saturn and Uranus).
The ERG of an apology is also represented by a whole series of speech acts in situations where the speaker, in response to his apology, receives a response apology from the addressee, who takes part of the responsibility for the events that occurred.
The linguistic embodiment of the ERL apology is an imperative Sorry/Sorry in performative use, which has directive properties, and the form I'm sorry(colloquial). Based on this, the work argues that the imperativeness and directiveness of the form Sorry make ERG apologies more energetic (term by T.V. Matveeva) than other etiquette genres.
Apology formulas in everyday speech are addressally oriented (Sorry), in official speech they imply an explication of the author, for example: From the name Aeroflot We apologize for the delay of the plane and the resulting inconvenience. Thus, the author's or addressee's orientation distinguishes between official and everyday ERG apology formulas.
The types of linguistic implementation of the ERL apology are listed below.
1) The speaker uses only one clichéd formula, since the participants in the situation do not require explanations: (...) It hurts so much, you know!?.. - Don’t, Lena. - sorry... (E . Grigoriev . Tatiana) .
2) Formula + occasion-event, which, in turn, is presented by a whole series of presentations: a) independent predicative unit: - OK, OK! Sorry. Then, you see, rumors spread that you were offered a branch and you are leaving us(A. Strugatsky, B. Strugatsky. Day of the Eclipse); b) subordinate predicative unit: Larisa.(...) I came in after all To to you apologize...for that she followed the advice of compassionate Rita and tried to start a serious romance with you with a happy ending(E. Braginsky. Game of imagination); c) nominalized construction with a preposition behind: Dergachev. E, crap! Sorry for the "damn" miss(E. Braginsky. Room).
The gestural equivalents of the ERF apology are pressing one's hand to one's chest and “begging” for an apology while on one's knees.
Main
1. Bakhtin M.M. The problem of speech genres // Bakhtin M.M. Aesthetics of verbal creativity. – M., 1979.
2. Shmeleva T.V. Model of speech genre // Genres of speech. - Saratov, 1997.
Additional
1. Tarasenko T.V. Etiquette genres of Russian speech: gratitude, apology, congratulations and condolences: abstract of thesis....candidate of philol.sci. – Krasnoyarsk, 1999.
2. Tarasenko T.V. Etiquette speech genres: experience of description (using the example of describing the genre of congratulations) // Genres of speech. – Saratov, 2002. Issue 3.- P.282-289.
3. Fedosyuk M.Yu. Unresolved questions of the theory of speech genres // Questions of linguistics. 1997. No. 5. – P.102 – 120.
4. Shchurina Yu.V. Speech genres of the comic.// Genres of speech. – Saratov, 1999. Issue 2.- P. 146-156.
Questions and tasks
1. Write an essay “Speech self-portrait”, in which you reflect the following points: My usual speech roles; Am I easy to engage in conversation? Do I prefer to talk or listen? Do I feel comfortable in front of a large audience? What communicative qualities of speech can I note in myself? What is my attitude towards jargon and invective? How do I feel about speech etiquette? Do I use it in my speech? What negative qualities do I know in my speech and do I want to get rid of them?
2. How do you differentiate between genres? What do you think makes them recognizable?
3. Remember situations in your life when you became acquainted with a genre - as an addressee or as an author. What knowledge about the culture of speech allows us to formulate such memories?
4. Explain the meaning of expressions based on concepts speech genre, functional style, style system: speaks like it’s written, talks nonsense, doesn’t reach into his pocket for a word, what a scribbler, don’t rush your tongue, you give her a word - she’ll give you two, a thousand words a minute, won’t put a curse on your tongue, says - you can fall asleep, he said - how spat in a puddle. Give them a stylistic description.
The interest of modern linguistics in the problem of speech genre (SG) was due to a number of factors. Among them, the main ones include the desire to identify the basic unit of speech, the role of which RJ can claim, and the pragmatic approach to the problems of colloquialism in general.
Analysis of various forms of statements in different fields of activity allowed M.M. Bakhtin to build a theory of speech genres, where a speech genre is understood as a relatively stable type of statements, which is formed through the unity of thematic content, style and compositional structure and is determined by the specifics of a particular sphere of communication. Filled with specific content, these general features are realized in single utterances and, thereby, are included in a specific communication situation.
In the previous period of development of linguistic theory, a clear distinction was not made between a sentence and a statement, which was noted in a number of works (Paducheva, Saluveer) “The half-heartedness of the traditional linguistic approach lies in the fact that, on the one hand, in many cases, instead of a sentence, a statement is considered, i.e. .e. a sentence in the context of its speech act, since it is said, for example, about the relationship of the sentence with reality. On the other hand, the transition from a sentence to a statement by many authors is done implicitly, is not noted in any way, and then, out of nowhere, in the description of the syntax suddenly such concepts as speaker, addressee, characters, etc. appear.”
M.M. Bakhtin made a clear distinction between a sentence and a statement, noting that what is often studied as a statement “is, in essence, some kind of hybrid sentences (units of language) and utterances (units of speech communication). Sentences are not exchanged, just as words (in the strict linguistic sense) and phrases are not exchanged - statements are exchanged that are constructed using units of language."
For Bakhtin, a sentence is “a relatively complete thought, directly related to other thoughts of the same speaker in the whole of his utterance.” The sentence is not delimited on both sides by a change of speech subjects, does not make direct contact with reality, does not have a direct relationship to other people’s statements, does not have semantic usefulness, is not capable of causing a response from the interlocutor, and does not have the property of being addressed to anyone. Unlike an utterance, a sentence has “a grammatical nature, grammatical boundaries, grammatical completeness and unity.” When analyzing language, sometimes a substitution is made, as a result of which a separate sentence, isolated from the context, “is thought up into a whole statement. As a result, it acquires the degree of completeness that allows one to answer it.”
Speech genres consist of utterances, which are units of communication and are constructed using units of language. Statements, in turn, have certain characteristics: clear boundaries, direct contact with reality (non-verbal situation), direct relation to other people's statements, integrity and semantic completeness, an active position in relation to the speaker himself and to other participants in verbal communication, addressability.
The boundaries of an utterance according to Bakhtin are determined by the change of speech subjects. Its volume can vary from a one-word remark to a multi-volume novel, since the indicator of the beginning of an utterance is its “absolute beginning”, and its boundary is its “absolute end”. A change of speech subjects turns a sentence into a statement, and “such a sentence acquires new qualities and is perceived completely differently than the same sentence framed by other sentences in the context of one utterance by the same speaker.” Taking a reciprocal position in relation to a statement consisting of one sentence becomes possible if the recipient realizes that the speaker has said everything that he intended to convey on a certain occasion. Moreover, the response can be both direct and indirect. This could be the silent execution of an order, a certain gesture, or facial expressions. When finishing reading a novel, after listening to a radio broadcast, the author and the recipient do not see or hear each other, but the recipient’s response will inevitably follow and be expressed, in verbal or non-verbal behavior, in his ability to order and structure new information in a certain way and reproduce it in the right way, sometimes far from the original situation. And in this case, even a one-word remark becomes a full-fledged statement.
The integrity of the utterance is ensured by “subject-semantic exhaustion, speech intent or speech will of the speaker, typical compositional and genre forms of completion.”
The actualization of RL occurs as a result of the emergence of a certain idea during verbal communication. The idea determines the subject of speech, its boundaries, and its subject-semantic exhaustion. The idea, as a subjective moment of speech, is combined with the subject of speech, as an objective factor, into a single whole - the topic of speech. The choice of one genre form or another is determined by the design. “This choice is determined by the specifics of the given sphere of speech communication, subject-semantic (thematic) considerations, the specific situation of speech communication, the personal composition of its participants, etc.” Then the opposite influence occurs: the idea itself is corrected by the chosen genre, as a result of which style and composition are formed. The speaker’s subjective, emotionally evaluative attitude towards the subject-semantic content of his statement creates an expressive element in the process of actualization of the speech, which also influences the style and composition. MM. Bakhtin attached particular importance to style as one of the fundamental components of the speech genre, which makes each utterance, even the most standard, individual. It is the style of the Russian language that contributes, on the one hand, to the disclosure of the individual personality of the speaker, on the other hand, to the identification of the general stylistic features of the national language, and through them, certain traditions embedded in the culture of the people. Not all lifestyles can clearly reflect the individual style. The most favorable genres in this regard are fiction, where “style is directly included in the very purpose of the statement and is one of its leading goals.” There are speech genres that require a standard form, such as military teams, business documentation, where we can talk about the presence of rigid construction structures and a style developed in accordance with these structures. Such genres are not so favorable for identifying the speaker’s individuality. However, in any case, “each sphere has its own genres that meet the specific conditions of this sphere; Certain styles correspond to these genres.”
The richness of speech genres is due to the diversity of human activity, all types of which are associated with the use of language. In each field of activity, there is a whole repertoire of RL, which is subject to processes of change and transformation and is directly dependent on the development and complexity of the activity itself. Hence the extraordinary heterogeneity of RJ, which includes dialogue, everyday stories, letters, military command, literary genres, business documents, journalism, scientific speeches, etc.
According to M.M. Bakhtin, communication occurs with the help of certain speech genres, which are acquired by the individual in almost the same way as their native language. “Even in the freest and most relaxed conversation, we cast our speech according to certain genre forms, sometimes stamped and stereotyped, sometimes more flexible, plastic and creative. ... We acquire the forms of language only in the forms of statements and together with these forms. Forms of language and typical forms utterances, that is, speech genres, come into our experience and our consciousness together and in close connection with each other." That is, speech genres are standard. Speech genres are impersonal because they are typical shape utterances, not the utterance itself.
In a number of works, RJ is presented as a typical form of text, rather than a statement. This is justified by the fact that the clear boundaries of the utterance are determined by the change of subject, and therefore its length can be arbitrarily large, which gives the right to correlate the utterance with the text. In this case, the text is understood as “a natural speech integrity taken in the communicative process.” M.Yu. Fedosyuk, considering completeness as a constitutive characteristic of an utterance, comes to the conclusion that this is not a formal attribute, but a substantive one, and is of a relative nature, since the entire work of art, and its component parts, and one line of dialogue, and even part of replicas. But “this feature, from the standpoint of modern linguistics, is inherent not in the utterance, but in another speech unit that is not identical to the utterance - text".
Already in the concept of M.M. Bakhtin, in the content structure of RJ there is a factor of social communication (remember the dialogic overtones present in the composition of RJ). In more recent studies on the theory of RJ, there is clearly a desire to approach a number of issues from the perspective of a pragmatic approach. “Language is considered not only in connection with the “person speaking,” but certainly in the dialogic context of a communicative situation, and also, more broadly, in the context of national speech, social, and spiritual culture.” Thus, the relationship between the speech genre and the “person speaking” is put at the forefront. This position allows V.V. Dementyev to define the speech genre as “the verbal presentation of a typical situation of human interaction.”
So, the main features of RJ are integrity and completeness, direct contact with reality, the possibility of existence only through opposition to other people’s statements, purposefulness, and the ability of RJ to “be an action” and thereby influence the situation of verbal communication.
In development of the theory of RJ M.M. Bakhtin, works appeared that presented in-depth studies of RJ as a linguistic, cultural, and ethnographic phenomenon. They are considered as problems identified by M.M. himself. Bakhtin, and those issues that came up on the agenda as a result of new facts, data, and research results. However, the closest attention in modern genre studies is still paid to the fundamental components of RJ - theme, style, composition.
Thus, the concept of composition is constantly in the field of view of researchers. Composition is the most important aspect of RJ, since it provides a connection with reality of both theme and style. At the same time, composition cannot be understood simply as the external form of a statement and the connection of its parts. This - " organization whole, a kind of metatext, a network of (metalinguistic) performatives, which contributes to the connection of the statement with reality.” Considering RJ in the light of the triad of syntactics - semantics - pragmatics, V.V. Dementyev attributes composition to the syntactics of the speech genre; the syntactics of RGs is based on the theory of primary and secondary RGs proposed by M.M. Bakhtin.
The interpretation of RG as a typical form of text allows us to study primary and secondary RG as levels of the text, models of its generation and abstraction of text activity (Baranov A.G.). Existing text generation models can be divided into horizontal models and vertical models
Models of the horizontal type organize the text from the point of view of its coherence, integrity, orientation towards realizing the goals and intentions of the speaker, interaction between communicants, etc. In general, this type of education considers the organization of structural-syntactic and semantic connections of the text and interprets speech as a systemic-structural phenomenon consisting of a set of many speech acts that are connected through a speech genre. A. Vezhbitskaya analyzes the single plane of speech, relying on simple mental acts of the speaker and using semantic metalanguage. The first stage of the analysis consists of identifying the main communicative goal of speech acts, the second is the complete decomposition of all genres into their constituent motives, emotions, positions, etc. The author admits the possibility of the existence of a certain finite set of speech acts - “small and diverse units close to traditional objects linguistics", - the choice of which is correlated with the style of RJ, presented by Bakhtin.
Since the theory of speech genres and the theory of speech acts have common points of intersection, it seems necessary to draw a line between these two concepts. In the theory of speech acts, a speech act is considered as “a purposeful speech action performed in accordance with the principles and rules of speech behavior adopted in a given society; a unit of normative socio-speech behavior, considered within the framework of a pragmatic situation.” In turn, speech, as noted earlier, has purposefulness, the ability to “be an action” and, thus, in many of its characteristics appears to be a phenomenon akin to a speech act. In addition, both the speech act and the speech genre operate with the concept of utterance as their structural element. However, speech act theory focuses on types of actions, and speech genre theory focuses on types of texts. These theories interpret the concept differently statement. In TPA, a utterance is defined as a “stated sentence”; TRS treats a statement as a type of text.
One of the differences between a speech genre and a speech act is its ability to exist only through opposition to other utterances, i.e. the very “dialogical overtones” that M.M. Bakhtin spoke about and which subsequently made it possible to use the theory of RL in the analysis of dialogue come into play.
As noted by V.V. Dementyev, “the concept of RL is more significant than the idea of the forms into which utterances are cast. There is no doubt that this concept should be included in the understanding of the implementation of a communicative plan, the dialogue itself, and many still completely unclear aspects of communicative competence.” M.M. himself Bakhtin understood the composition of RJ as monological, although permeated with dialogic overtones. One of the directions of modern genre studies considers RJ as a dialogical unity. Understanding RL as a type of text contributes to the study of secondary RL as a type of text, primarily dialogical, in which the primary RL is a structural element. N.D. Arutyunova identifies five types of dialogic RJ and conducts research to study the direct or indirect goals of RJ, the degree of predictability of response actions, the distribution of roles, the intentional states of communicants, their length, structure, and modalities.
Models of the vertical type, based on the communicative-pragmatic approach and the study of “language in action,” deal with the establishment of vertical connections in the text. So, A.G. Baranov puts forward the concept of a hierarchy of text models, which are built on the criterion of the degree of decrease in abstraction and are represented by the following categories: textotype, sub-type, genre, cogniotype, text. Of particular interest is the cogniotype “as a low-level abstraction”, which carries the greatest information content.
Differentiating genre forms taking into account the factor of the level of abstraction of textual activity, V.V. Dementyev operates with such concepts as hypergenres, or hypergenre events, which stand at a higher level of abstraction of textual activity and “which accompany socio-communicative situations that combine several genres". Thus, the hyper-genre of feast includes the genres of toast, table conversation, etc. To a lower level of abstraction of test activity, the author refers to strategies and tactics of intra-genre speech behavior, “that is, general principles for organizing the interaction between speaker and listener within a speech genre, which predetermine variability in the choice of speech means of expression within the genre.”
Thus, based on M.M. Bakhtin’s theory of primary and secondary speech genres, modern linguistics has taken three main directions in the compositional construction of speech genres. The first of them divides speech genres into primary and secondary, while the secondary ones are derived from the primary ones and differ from them in the sphere of functioning and stylistic processing. The second direction studies the levels of abstraction of textual activity as applied to primary and secondary speech genres. The third direction considers RJ within the framework of primarily dialogical statements, while secondary RJ is understood as a type of texts, the structural element of which is the primary RJ.
The semantic aspect of the RJ is aimed at identifying the content side of the RJ, i.e. its topic; indicate the number of RJ; determine the criterion by which it would be possible to classify one or another typical form of utterance to the corresponding genre.
A. Vezhbitskaya, taking as her research method her own theory of elementary semantic units (“semantic primitives”), models each genre “using a sequence of simple sentences expressing the motives, intentions and other mental acts of the speaker that determine this type of utterance.” As a result of this analysis, a characteristic is given of a specific speech genre, and in fact, one constitutional speech act, which clearly reveals the topic of speech.
V.E. Goldin, using the unity of “communicative and non-communicative human activity” as a theoretical basis for his reasoning, talks about identifying types of speech genres in situations, events, actions, where RL is a form of understanding the world typified by language. Since the basis of a speech event is the speech process or action, we can talk about answer, conversation, conversation, apology, explanation, dispute, quarrel as about names of speech genre. At the same time, the main thing is not the speech act itself, but the actions embodied in them, which is realized in the content of the names of the RJ through assessment, characterization or another method of pragmatic interpretation. Forming a single whole in the act of communication, RJs can have “thematic polyphony.” Considering the thematic structure of the Russian Journal based on the dialogue, I.G. Sibiryakova notes the presence of features of the relationship and alternation of subject topics in the structure of the Russian Journal. The dialogue is dominated by monothematically oriented text blocks, within which there is a multi-level thematic hierarchy, when one thematic fragment is in relation to another in a state of subordination. The author also identifies independent thematic fragments, the topic of which “is not blocked with others,” and which, in turn, can become the basis for the formation of a new monothematically oriented text block, since they are most often found on the border of thematic blocks.
M.Yu. Fedosyuk, draws attention to the fact that often the lexical meanings of nouns in speech activity are interpreted by the names of speech genres of a particular language. The analysis allowed the author to come to the conclusion that in some cases such a phenomenon actually occurs. However, in the overwhelming majority of cases, such nouns cannot serve as names of speech genres, since (1) they reflect not the properties of the statements themselves, but their “third-party assessment” on the part of the observer; (2) are in a relationship of synonymy or quasi-synonymy with the specified nouns.
Among those speech genres that are generally recognized, it is not always easy to draw a clear boundary. One of the ways to make this kind of distinction was proposed by M.Yu. Fedosyuk and consists in analyzing the semantic components of the speech genre using the speech genre questionnaire of T.V. Shmelevoy. The author develops a field principle for organizing RJ, according to which each genre has a certain set of means of expression. This complex has the structure of a linguistic field, which has its own center and periphery. The central components of the genre field clearly contrast this genre with all other genres; on the periphery, formal differences between different genres are neutralized.
Thus, the semantic aspect of the speech genre presupposes a linguistic interpretation of the theme of the speech genre, and therefore it is not by chance that such attention is paid to the names of speech genres.
The construction of classifications of speech genres is complicated by their functional heterogeneity, which does not always make it easy to find a common basis for classification.
As already noted, M.M. Bakhtin divided GC into primary (simple) and secondary (complex). Primary GCs appear as a result of direct verbal communication. These include “certain types of oral dialogue - salon, familiar, circle, family, everyday, socio-political, philosophical, etc.” Secondary RJ, which includes novels, dramas, journalistic genres, scientific works, etc. and which are the result of more complex cultural communication, are formed from primary GCs. In other words, genres of the scientific, business, and public artistic spheres “have prototypes in everyday speech.” The processed primary RJs no longer have such a strong connection with real reality, and the work, which is a secondary RJ, enters into real reality as “an event of literary and artistic, and not everyday life.” At first glance, it may seem that a comprehensive study of primarily primary gastric cancers can have a beneficial effect on the development of gastric cancer theory as a whole. However, as the author notes, a one-sided focus on primary GCs will lead to the vulgarization of the problem. Only an analysis of both types of speech genres can reveal the nature of the utterance and reveal all its complexity and depth.
Modern genre studies interpret the content of these concepts themselves differently and, in accordance with this, present different points of view on the problem of primary and secondary speech genres. According to one of them, presented in the works of N.V. Orlova, the secondary RJ appears as ontologically derivative from the primary one and differs from it only in the sphere of functioning and stylistic processing. Speech works that represent objectively close primary and secondary speeches coincide and differ according to the same characteristics (cf. condemnation in everyday life, in the media, in court, at a rally, etc.). Style, as one of the differential features of the genre, is a variable value. Genres that do not coincide in style can be adjacent, objectively close, which becomes possible thanks to the decisive role of the speaker’s intention.
Reflecting on the construction of the basis for the typology of RJ, T.V. Anisimova identifies the three most common global features inherent in speech genres. This is the division of genres into primary and secondary, the presence of a response, the intention of speech. With regard to the first of the listed signs, the author proposes to classify as primary speech language those of them that are unprepared and, thus, relate to the colloquial style (this can be business, scientific, judicial, and any other speech), where and the corresponding primary forms are born. Secondary T.V. Anisimova suggests considering those RJs that are thought out and prepared in advance. The obligatory presence of a response allows us to distinguish three groups of genres. The first includes those that do not involve an immediate response. The second includes speech genres that involve a direct verbal reaction. The third group is characterized by those RJs that involve a reaction with action. Speaking about the relationship of genres to the purpose of speech, the author proposes a structure in the form of a tree, in which “the common trunk (to inform) is divided into branches, where this purpose is specified in relation to individual groups of genres.”
Further analysis of GC led researchers to search for new grounds for classification.
Many researchers note that often a speech genre includes more than one utterance. So, A.G. Baranov believes that there are primary and secondary gastric cancers, each of which, in turn, is divided into simple and complex. Fundamental to the primary simple speech genres is that they represent “dialogue as the primary type of text in genesis,” and thus represent connective cycles, such as, for example, the request-response cycle. Primary complex speech forms are equated to a dialogical text, highlighting various communicative moves. Secondary simple RL, represented by description, narration, are functional and semantic elementary texts. Secondary complex RJs include all of the above types of RJs and represent a text constructed according to certain transformation rules.
The inclusion of some speech genres in other, larger ones is noted in a number of works. This allowed.Yu. Fedosyuk classifies RJ as elementary and complex. Complex RLs contain fragments, each of which has relative semantic completeness, and in turn can be presented as a text of a certain genre. Elementary RJs do not contain such fragments. The author refers to the latter message, praise, greetings, Gratitude, request. Complex RJs are divided into monologues, which include components belonging to one subject; and dialogical, consisting of replicas of different communicants. The first include RJ consolation, persuasion, persuasion. To the second - conversation, discussion, dispute, quarrel.
N.D. Arutyunova in her classification of RJ takes the basis of goal orientation as the basis and identifies the following types of dialogic genres: informative dialogue (make-know discourse; prescriptive dialogue (make-do discourse); exchange of opinions for the purpose of making a decision or finding out the truth (make-believe discourse) ; dialogue, the purpose of which is to establish or regulate interpersonal relationships (interpersonal-relations discourse); idle genres (fatic discourse), which are divided into emotional, artistic, intellectual. The author notes that in their pure form, the dialogic RL identified by her are quite rare. However, their objective existence is confirmed by the presence of certain goals (direct and indirect), the degree of predictability of responses, extent, structure, coherence, intentional states of interlocutors, modality.
Based on one of the most important features of RJ - (1) communicative goal - T.V. Shmeleva identifies four types of RL: informative, imperative, etiquette, and evaluative. The author finds confirmation of the correctness of this classification in the existence of special grammatical and lexical forms, intonation indicators, which are developed by the language for their implementation. Each of these types of genres, in turn, includes smaller subtypes that differ in other genre-forming characteristics. These include (2) the image of the author, (3) the image of the addressee, (4) the image of the past, (5) the image of the future, (6) assessment of the dictum event, (7) linguistic embodiment of the RJ. Thus, the parameter image of the author differentiates between genres order - request - teaching. The image of the recipient-performer reveals genres order - advice. The image of the past is important in the case when a certain RJ can appear only as a response to some other genre ( answer, refusal, agreement, refutation, etc.). The image of the future is relevant in cases where the initial RJ requires the inevitable appearance of a new RJ.
V.V. Dementyev draws attention to the need to identify the intent of the RJ, and in accordance with this, he distinguishes phatic and informative RJ, understanding, following T.G. Vinokur phatics as an entry into communication, with the goal of preferably communication itself, and computer science as an entry into communication, with the goal of communicating something. The basis of informative RJs is an informative plan, phatic ones - a phatic plan. The author notes that informative RJs have been studied more fully and are most clearly presented in the work of N.D. Arutyunova. Typology of phatic RJ V.V. Dementyev conducts this on two grounds: the degree of indirection and the level of interpersonal relationships. On the graph proposed by the author, the first base is presented in the form of a vertical scale with a certain gradation; The horizontal scale on this graph is the A.R. Interpersonal Relationships Scale. Balayan.
The above allows us to conclude that the desire to describe a systemic representation of communicative competence led to the development of classifications of GC, but the difficulty in solving this problem lies in finding an adequate basis for this kind of construction. Genre-communicative and illocutionary criteria were identified as the basis for classifications.
According to the author of this work, consideration of the “speech genre” from the perspective of traditional linguistics, unfortunately, is not able to reveal the essence of this phenomenon, which leads to the need for an interdisciplinary analysis of the “speech genre”.
From the point of view of modern researchers, the speech genre is considered a universal category of linguistic philosophy, which should be the basis of the methods of new anthropological linguistics. There is an opinion that it is speech genres, these “drive belts from the history of society to the history of language” Bakhtin M.M. Aesthetics of verbal creativity. - M.: Art, 2011. - P. 236, act as that “buffer space of our consciousness, where in simultaneous existence ideas about the standards of socially significant interaction of people and about the norms of speech formatting of such interaction merge” Sedov K.F. On the genre nature of discursive thinking of a linguistic personality // Genres of speech. - Saratov: College, 2009. - Issue. 2. - pp. 17-18.
Analysis of speech genre is one of the main approaches to the study of dialogue speech. Moreover, in recent years this approach has been considered leading and universal. As noted by scientist V.V. Dementyev, this fact is due to several reasons. The most important reasons are: First of all, at this time, an active search is being carried out for the basic unit of speech, which, in the opinion of most researchers, should be quite capacious or large. Also, this is facilitated by the pragmatization of modern colloquialism in general” Dementyev V.V. Study of speech genres: a review of works in modern Russian studies // Questions of linguistics. - 2011. - No. 1. - P. 109-121..
In the processes of social interaction, the genre organization of speech plays an important role. The genre organization of speech supports the social orientation of communicants. Without a social orientation, the success of communicants’ actions will hardly be possible. Orientation in the forms and purposes of communication, in the distribution of communicative and social roles that are assumed by genre-organized speech, provides the opportunity to anticipate the course of communication, plan it correctly, respond adequately to the communicative actions of partners and, as a result, achieve the intended goals.
An important place in the works of foreign genre researchers belongs to the communicative goal, or communicative attitude, which they define as the main genre-forming feature. The communicative goal is characteristic of each individual genre and forms the genre itself and its internal structure. A significant change in the communicative goal leads to a change in speech genres, while minor changes lead to the identification of subgenres. Differences in the communicative goal are reflected in the choice of strategies and in the internal (deep) structure of the text.
Deep structure, a system of phrases and symbols, is an entirely linguistic representation of human experience that can be considered the intentions or thought behind a more formal structure. Consequently, the internal structure of the text is an individual understanding or “experience”.
In Russian language science, the foundations of the theory of speech genres were laid by the famous scientist M.M. Bakhtin. The scientist builds his theory based on the belief that interpersonal communication is closely related to the situations in which it occurs. These situations are described by relative stability, forming communicative forms that M.M. Bakhtin called speech genres.
One of the directions is the linguistic study of the speech genre, which is based on the speaker’s intention. This direction is a linguistic interpretation of the concept of speech genre by M.M. Bakhtin, but is based on the methodology and terminology developed within the framework of the theory of speech acts. It stands out that most researchers consider the theory of speech acts to be a Western analogue of the domestic theory of speech genres.
Speech genres - dialogical phenomena - are understood as models of the invariant-variant type and are analyzed through the prism of paradigmatic and syntagmatic relations of the system.
The logical-intentional aspect of speech genres is considered, when the “repertoire of speech genres” is equated to a countable set of typical intentions of the speaker. It should be noted that this direction generally represents the concept of speech genre in a very simplified form.
The costs of linguistic genetics, which is based on the provisions of the theory of speech acts (SPA), can be understood as insufficient pragmatism (the passion for SPA models has led to the loss of dialogue).
The theory of speech genres developed in the general mainstream of linguistics of the 20th century. Development occurred from linguistic descriptions of the structure of genres to the analysis of genres as the main factor in the dialogical communication of people.
An alternative direction in the theory of speech genres is the pragmatic analysis of the speech genre, which, as noted by V.V. Dementyev, was largely formed from overcoming the shortcomings of the linguistic study of the speech genre Dementyev V.V. Communicative genristics: speech genres as a means of formalizing social interaction // Genres of speech. - Saratov: College, 2012. - Issue. 3. - pp. 18-40.
One of the significant drawbacks is the monologization of the idea of a speech genre, which is a consequence of the absolutization of the speaker’s intentions. Pragmatics is not equated with TRA - pragmatics is meant in the traditional sense as a part of semiotics, characterized by the relationship of the sign to the speaker and where language is analyzed not only in connection with the “person speaking”, but certainly in the dialogical context of the communicative situation, as well as in the broader context of national speech, spiritual, social culture.
With such a broad pragmatic approach, the speech genre is considered “the verbal design of a typical situation of social interaction between people” V.V. Dementyev. Sociopragmatic aspect of the theory of speech genres / V.V. Dementiev, K.F. Sedov. - Saratov: College, 2010. - S, 41.
The previous stages of development of the theory of speech genres were based on the key role of the addresser of speech (hence the primary attention to goals and intentions).
When analyzing speech genres, the factor of the addressee is not always taken into account with due completeness. Although in them the meaning-forming role of the addressee is more obvious than in units of lower levels. Genres as typical communication situations are perceived precisely from the point of view of the listener, as O.B. points out. Sirotinina: “the speech genre has developed<…>in the real perception of everyday communication, primarily from the point of view of the recipient of the speech.”
The current stage of development of the theory of speech genre seeks to overcome these limitations in understanding the speech genre. In the pragmatic concept of the speech genre, a large share of attention is paid to all aspects of the interaction between the addresser and the addressee, to all received and transmitted communicative meanings (and not just those that the addresser consciously intended to convey). It is dialogicality that is the defining feature of the speech genre in M.M. Bakhtin as a unit of speech communication and human activity. This is where all the other signs of a speech genre come from (completeness, goal-setting, connection with a certain sphere of communication, etc.).
But at the same time, the pragmatic direction of genre analysis is characterized by the recognition of an equal degree of importance of the addresser factor and the addressee factor, as well as an orientation towards dialogue, from the definition of RJ K.F. Sedova: “verbal presentation of a typical situation of social interaction between people”, it is clear that linguistic means are assigned a subordinate, service role. It is no coincidence that it is not primarily speech genres that are studied, but situational and behavioral genres.
V.V. Based on the unity of two directions in the study of genre, Dementiev proposes their synthesis based on the general communicative nature (function) of speech genre and language, the idea that genres are a means of formalizing social interaction.
At this stage, there is a need for a synthetic direction in the theory of speech genres, where both dialogical and linguistic aspects of the speech genre would be considered. For this synthetic direction, the name communicative genetics is proposed.
Within this approach, genre is understood as a means of formalizing social interaction. The degree of rigidity of the rules of this genre comes to the fore. MM. Bakhtin considered this feature - the distinction between standardized genres such as greetings and congratulations, where the speaker has very little that he can bring from himself, and more “free” genres - one of the main ones in the systematization of the speech genre, along with the division of the speech genre into primary and secondary.
Speech genres impose restrictions on the interpretation of speech utterances, thereby making interpretation more standard and reducing the degree of uncertainty in communication.
One of the central functions of the speech genre is to serve as recognition by the addressee of intention, as indicated by M.Yu. Fedosyuk: “As for the complete list of content features of the speech genre,<…>then, apparently, it constitutes that characteristic of the speaker’s communicative intentions intended for recognition by the addressee, which M.M. Bakhtin called the speech intention of the speaker and which in TRA is called the illocutionary force of the utterance” Bakhtin M.M. Aesthetics of verbal creativity. - M.: Art, 1986. - P. 103.
Let's compare the definition of speech genre Art. Guides: this is “a horizon of expectation for listeners and a construction model for speakers” Guides Art. Problems of the genre // Functional stylistics: Theory of styles and their linguistic organization. - Perm: PSU, 1986. - P. 11-24. This property of a speech genre as a “cognitive-constructive aspect of a speech genre” is pointed out by K.A. Dolinin: “knowledge of genre canons ensures identification of the genre by the recipient (for which a small segment of discourse is often sufficient), i.e. orientation in the speech event in which he participates, activation of the corresponding scenario stored in long-term memory, and, therefore, tuning to the desired wave, turning on the appropriate setting, and, as a result, the ability to predict further speech actions of the partner, further development of discourse and respond adequately on him" Dolinin K.A. Speech genres as a means of organizing social interaction // Genres of speech. - Saratov: College, 1999. - Issue. 2. - pp. 27-36.
In the above definition of the property of a speech genre, the key concept is “speech event”. It is the consideration of all parameters (non-communicative and communicative) of events that makes it possible to carry out a comprehensive analysis of the genre.
Revealing the essence of the concept of a complex speech event, which turns out to be especially important for the analysis of a speech genre, there is no specific scheme for analyzing similar communicative events. You can use the model proposed by M.K. Halliday, for the analysis of a speech genre that correlates with some complex communicative event.
M.K. Halliday distinguished the concepts of “text” and “context” and considered them as different aspects of the same process. Context, or con-text, according to the teachings of Halliday, is something that certainly accompanies the text and, as a rule, precedes it.
M.K. Halliday developed his concept of context based on the theory of “context of situation” by anthropologist B. Malinovsky, who by “context of situation” meant the environment of the text.
The context of a situation or discourse is determined by three parameters:
- 1) Field of Discourse, i.e. topic of discussion, subject of conversation, terms of discussion, etc.;
- 2) communicants (Tenor of Discourse), i.e. participants in the situation, their roles, interactions, goals, etc.;
- 3) mode (Mode of Discourse), i.e. communication channel (oral or written, prepared or spontaneous communication, with a microphone and recording or not).
B. Malinovsky introduced the term “cultural context”. M.K. Halliday emphasized the need to interpret a text not only in the context of the situation, but also in the context of the culture. Any context of the situation, e.g. the established configuration of discourse, including communicants, field, and method of communication, which led to the appearance of the text, is not an arbitrary chaotic set of features, but there is a certain integrity, a “package of proposals” typical for each culture.
Therefore, communicators must take into account the context in which communication takes place. This is both the general context of culture and the context of a particular situation that is developing at a given point in time. In addition, the formation and interpretation of texts is influenced by the “system of our expectations”, which is based on past experience, and this experience may be different for two individuals, which is reflected in the nature of communicative interaction. In other words, communicative behavior depends on what is outside the text, i.e. in the field of context. A significant divergence in the contexts of interpretation of the participants in the interaction can lead to the emergence of conflict.
So, having carried out a critical analysis of the existing approaches to the concept of “speech genre” in foreign and domestic linguistics and literary criticism, we can come to the conclusion that the analysis of genres must be carried out within the reality of their communicative existence in the continuum of social events, situations, and actions.
The genres of fiction have been studied in detail and in many ways. Of course, you can immediately remember and name many of them.
But genres are revealed not only in literary texts; they reflect a wide variety of situations of social interaction between people. For the first time, M. M. Bakhtin considered genre as the main category of speech communication more than half a century ago. He determined speech genre as a relatively stable statement developed by a certain sphere of language use, and noted that each sphere of communication has its own, unique set of genres into which human speech is cast in typical situations. It is the utterance in this concept that must be considered the basic unit of communication.
In other words, speech genre(RZ) is a type of oral and written texts that exist in a variety of spheres of communication, are reproduced by speakers and writers and are recognized by their linguistic (verbal and nonverbal) means (T. A. Ladyzhenskaya).
With the help of a system of genres, the text produced by a person in any field and in any of its forms is ordered, thereby ordering our communication. Genre structures the communicative process, creating “shared” expectations about the form and content of communication and thus facilitating the production and reproduction of communication (L. Breure).
A list of some oppositions identified and described by researchers at different times will help to present a genre picture of communication. These dichotomies help to see the division of speech genres in the most general form, based on various principles: oral - written; “primary” - formed in conditions of direct speech communication - “secondary”, arising within the framework of artistic, scientific and other forms of complex cultural communication (M. M. Bakhtin); pure and hybrid (in the latter there is an interaction of styles), mono- and polyaddress (the addressee is several persons), collective and individual (the addressee is a specific person), dialogic and monologue (according to the method of sending communication); non-argumentative and argumentative (evidence of any provisions predominates); affecting the addressee and of an informational nature; elementary and complex (consisting of components, each of which, in turn, has relative completeness and represents a text of a certain genre; regulated and unregulated (providing the speaker or writer with greater opportunities in choosing verbal ways of forming a statement - uncliched); monocode and polyocode (combining elements of different sign systems - verbal text in oral or written form, images, as well as signs of a different nature); contact and distant (according to the position of the communicants in space and time).
The problem of genre ordering can be viewed from different positions. Currently, a special science has even been formed that deals with the study of the peculiarities of the emergence and functioning of genres - genre studies (genre studies).
In order to identify the main distinctive features that delimit pedagogical genres, the goal-setting criterion is important (Why is a statement created?), which is considered by many scientists as the main one for determining a speech genre: it is necessary first to “identify the main communicative goal of each genre” (A. Vezhbitskaya).
The effectiveness of pedagogical communication is directly dependent on the teacher’s level of proficiency in speech genres, which include both various operations with information and the installation of speech contact, ensure the maintenance of speech and social relations with the interlocutor, and their regulation. Therefore, for pedagogical speech, identifying the poles of computer science and phatics (T. G. Vinokur) is the most important criterion for dividing genres.
Computer science includes communication aimed at communicating something. Under phatic In a broad sense, communication is understood as having the goal of communication itself. The basis of phatic intention is the satisfaction of the need for communication - with different forms, tonality, relationships between communicants.
In real communication, all speech genres of pedagogical communication can be divided into predominantly informative genres (in which the author mainly conveys information that is new to the addressee); and phatic ones predominantly (where the essence of communication is to a greater extent in expressing the various nuances of the relationships between the participants in communication, rather than in transmitting information).
T.V. Shmeleva, defining the goal as a fundamental feature for the typology of speech genres, distinguishes four classes: informative, imperative, evaluative and etiquette genres. It is easy to notice the continuity of this classification in relation to the proposal to distinguish two main functions - informative and phatic.
Based on the “communicative goal” criterion, we present the frequency genres of pedagogical speech in Table. 9.
Any of the genres presented in table. 9, taking into account the specifics of communication, may have analogues in other areas of activity. This applies even to genres that are characteristic specifically of pedagogical discourse (pedagogical dialogue, explanatory monologue, etc.). Genres from other spheres of communication can also function in pedagogical discourse, which are not in the table due to the fact that they are “woven” into any of the named pedagogical genres and shape it (parable, fairy tale, advertising, etc.).
Compare the texts from the point of view of realizing the main communicative goal:
Table 9. Genres of pedagogical speech
|
Classes of speech genres by purpose |
Speech genres |
|
|
Performing various operations with information: its presentation or request, confirmation or refutation |
Informative |
Oral: pedagogical dialogue, discussion, explanatory monologue (explanatory speech), report, educational lecture, summarizing speech, introductory speech, announcement, excursion speech. Written: abstract, theses, essay, review, review, synopsis, student characteristics, pedagogical diary. Report, protocol, biography and autobiography (genres of business communication) |
|
Contributing to the implementation/non- implementation of any events or actions |
Imperative |
Request, advice, demand, permission, prohibition, order, parting words |
|
Changing the well-being of communication participants, correlating their actions, qualities, etc. with the scale of values accepted in a given society |
Estimated |
Praise, blame, consolation |
|
Events of social reality shape |
Label |
Congratulation, greeting, farewell, introduction to class, invitation, apology |
- 3.“Well done, you made me happy today. Thanks for the interesting thoughts."
- 4. “Sorry, I was wrong. This rule is on page 26."
You were probably easily able to determine the genre of these texts based on their communicative purpose (1 refers to informative, 2 to imperative, 3 to evaluative, 4 to etiquette). But real communication is often a combination of different communicative goals within a genre. In our examples, text number 4 serves two purposes: etiquette and informative. Any informative genre of pedagogical communication is built taking into account the need to convince students and motivate them to action. Let's look at an example.
“Let’s write down the sentence: “The historical significance of every Russian great man is measured by his services to the Motherland, and his human dignity is measured by the strength of his patriotism.”
Guys, at first glance the proposal seems difficult to understand. But we'll try to figure it out. Let me explain the first part of the sentence first.
I understand it this way: the significance of a great man in History (and Russia is rich in great people), his place in History depends on his services to his Motherland. Do you agree? Well, the human dignity of every great Russian person is measured by his love for his country, devotion to his people. This sentence refers to a Russian person. But, I think, in order to love your Motherland, the land on which you live, you don’t have to be Russian by nationality. For example, Empress Catherine the Second, who was called Catherine the Great, was German. She called Russia the Universe and said that if she herself was great, it was only thanks to the Russian people.
These wonderful words were said by the famous Russian writer, patriot, N. G. Chernyshevsky. Try to remember them.
Let's designate the parts of speech in a sentence. Let us remember that each part of speech has an important feature - the general grammatical meaning of the part of speech. This meaning is the same for all words of the same part of speech” (teacher E. A. Kostitsina).
Even the elementary genre of greeting in a formal lesson setting can often be accompanied, for example, by the imperative of must:
"Good afternoon! You and I must see and hear each other.”
The written genres “abstract”, “review”, “review” also imply the achievement of several goals: assuming the implementation of the goal “performing various operations with information”, they also pursue an evaluative goal - evaluation of the presented information.
Of course, the basis of pedagogical communication is formed by informative genres, which belong to the educational and scientific substyle of the scientific style. But the stylistic appearance of pedagogical communication is influenced by the dialogical form of existence of the lesson, as well as extracurricular activities, which determine the conversational nature of communication, clearly revealing the speech individuality of the teacher. In addition, pedagogical communication is open to the use of genre structures of journalistic style and written genres of business communication (mainly in the activities of a teacher).
Thus, in the presence of the main - educational and scientific variety of speech, communication in the educational sphere is characterized by a functional-style synthesis, reflecting the complexity and multidimensionality of the goals realized in the lesson process.
In this regard, to characterize the genres of pedagogical speech, it is advisable to use the concept discourse, which, from the standpoint of modern approaches, is a complex communicative phenomenon, including, in addition to the text, also extralinguistic factors (knowledge about the world, opinions, attitudes, goals of the addressee) necessary for understanding the text.
Pedagogical discourse- one of the types of institutional communication. Institutional discourse represents communication within a given framework of status-role relations (V.I. Karasik) and is distinguished on the basis of two system-forming characteristics: goals and participants in communication.
In modern society, the following types of institutional discourse are defined: political, diplomatic, administrative, legal, military, pedagogical, religious, mystical, medical, business, advertising, sports, scientific, stage and mass information. One of the types of institutional discourse - pedagogical discourse - is the subject of pedagogical rhetoric as a private rhetorical discipline. Pedagogical discourse is a status-oriented communication between a teacher and a student with the main goal of human socialization.
Most often, within the framework of pedagogical discourse, a lesson is considered as a communicative event, a complete whole. Discursive thinking has a genre character. “Discourse as a communicative field (space) must be structured in a certain way, have structural integrity, which ensures the movement of information within the communicative situation. This movement manifests itself in different ways in the genre organization of communicative space (N. A. Ippolitova).
If we analyze the lesson as a type of discourse, then it is complex, combining informative, argumentative (evidence), often heuristic (cognitive tasks), agitating (incitement to action), hedonistic (games), artistic (expression of the “emotional picture” of the world), epideictic (assessment). It is the combination of all these types that ensures the effectiveness of educational pedagogical discourse.
Types of discourse correlate with the communicative strategies that V.I. Karasik identifies: explanatory, evaluative, controlling, facilitating, organizing.
All types of discourse inherent in a lesson, being an expression of the goals and intentions that the teacher sets for himself, are reflected and refracted in different ways in pedagogical speech genres.
Informative genres implement explanatory and partly controlling strategies of pedagogical discourse. Evaluating, facilitating and organizing strategies of pedagogical discourse are embodied in evaluative, etiquette and imperative speech genres.
Pedagogical discourse - multi-genre education. Within the framework of a complex speech event - a lesson, as well as in situations of extracurricular pedagogical activities of the teacher, various types of statements arise.
In order to facilitate clear and conscious work on the creation of texts with a pedagogical orientation, we will focus on the analysis of individual genres that arise in various learning situations.
- Most modern linguists, when studying speech genres, rely on the works of M.M. Bakhtin, who included among them “short replicas of everyday dialogue... and an everyday story... and a short military command, and an extensive and detailed order, and a rather motley repertoire of business documents... and a diverse world of journalistic speeches...; ...and all literary genres from proverbs to multi-volume novels.” Defining speech genres as “relatively stable types of statements,” M. M. Bakhtin believed that they are “given to us in the same way that we are given our native language” and “learning to speak means learning to construct a statement.”
- “The difference between the words “difference” and “difference” is that difference is a feature inherent in an object or class of objects and distinguishes it from the rest. For example: the new plane has the following differences from previous models. Distinction is a difference, a dissimilarity between someone or something. The difference equally characterizes all distinguished objects and concepts: the significant difference between new and old aircraft is that... Therefore, “to find differences” means “to find the characteristic, distinctive features of a given object, to find how these objects differ.” 2. “Guys, now let’s remember the topic “One-part sentences.” Let’s check how you learned to determine the type of one-part sentences. You need to find the grammatical basis of each sentence and determine its type. Be careful!"