Send your good work in the knowledge base is simple. Use the form below
Students, graduate students, young scientists who use the knowledge base in their studies and work will be very grateful to you.
Similar Documents
The study of the features of the Russian language in historical period Russia from October 1917 to August 1991. Changing the stylistic properties of some words of the Russian language; distinctive features of Soviet speech practice. Terms: concept, classification.
test, added 09/12/2012
Russian development literary language. Varieties and branches national language. The function of the literary language. Folk colloquial speech. Oral and written form. Territorial and social dialects. Jargon and slang.
report, added 11/21/2006
The process of formation of the national literary language. The role of A.S. Pushkin in the formation of the Russian literary language, the influence of poetry on its development. The emergence of a "new style", an inexhaustible wealth of idioms and Russianisms in the works of A.S. Pushkin.
presentation, added 09/26/2014
Consideration of the features of the lexicographic description of the meaning of words in " explanatory dictionary modern Russian language". The nature of the language change of the century is the use of both traditional and previously peripheral models of word formation.
abstract, added 03/20/2011
Word-building system of the Russian language of the XX century. Modern word production (end of the twentieth century). The vocabulary of the Russian literary language. Intensive formation of new words. Changes in the semantic structure of words.
abstract, added 11/18/2006
Varieties of the literary language in Ancient Rus'. The origin of the Russian literary language. Literary language: its main features and functions. The concept of the norm of the literary language as the rules of pronunciation, formation and use of language units in speech.
abstract, added 08/06/2014
Characteristics of the Russian language - the largest of the world's languages, its features, the existence of many borrowings, the basis of many mixed languages. Classics of Russian literature about the possibilities of the Russian language. Reforms of the Russian literary language.
control work, added 10/15/2009
The face of Russia is especially individual,
for it is receptive not only to someone else's, but also to one's own.
D. Likhachev
The development of modern Russian literature is a lively and rapidly developing process, each work of art in which is part of a rapidly changing picture. At the same time, in literature, artistic worlds are being created, marked by a bright individuality, determined both by the energy of artistic creativity and by a variety of aesthetic principles.
Modern Russian literature- this is literature that appeared in our country in Russian, from the second half of the 80s to the present. It clearly shows the processes that determined its development in the 80s, 90-900s and the so-called "zero", i.e. after 2000.
Following the chronology, in the development of modern literature, such periods as the literature of 1980-90, the literature of 1990-2000 and the literature after 2000 can be distinguished.
1980-90s years will go down in the history of Russian literature as a period of change in aesthetic, ideological, moral paradigms. At the same time, there was a complete change in the cultural code, there was a total change in literature itself, the role of the writer, the type of reader (N. Ivanova).
last decade With 2000 ., the so-called "zero" years, became the focus of many general dynamic trends: the results of the century were summed up, the opposition of cultures intensified, there was an increase in new qualities in various fields art. In particular, there have been trends in literature related to the rethinking of the literary heritage.
Not all trends occurring in the current literature can be accurately identified, as many processes continue to change over time. Of course, much of what happens in it often has polar opinions among literary critics.
In connection with the change of aesthetic, ideological, moral paradigms that occurred in 1980-900s years, radically changed views on the role of literature in society. Russia XIX and XX centuries was a literary-centric country: literature took on numerous functions, including reflecting the philosophical search for the meaning of life, shaping the worldview and carrying out an educational function, while remaining fiction. At present, literature does not play the role that it played before. There was a separation of literature from the state, the political relevance of modern Russian literature was minimized.
The development of the modern literary process was greatly influenced by the aesthetic ideas of Russian philosophers. Silver Age. Ideas of carnivalization in art and the role of dialogue. MM, Bakhtin, a new wave of interest to Yu.Lotman, Averintsev, psychoanalytic, existentialist, phenomenological, hermeneutic theories had a great influence on artistic practice and literary criticism. In the late 80s, texts by philosophers K. Svasyan, V. Malakhov, M. Ryklin, V. Makhlin, philologists S. Zenkin, M. Epstein, A. Etkind, T. Venidiktova, critics and theorists K. Kobrin, V. Kuritsyn , A. Skidana.
Russian classics due to the transformation of assessment criteria (as it happens in the era of global change) has been reassessed. In criticism and literature, attempts were repeatedly made to debunk idols, the role of their works, and their entire literary heritage was questioned.
Often, following the trend started by V.V. Nabokov in the novel "The Gift", in which he debunked and caustically ridiculed the recent rulers of the minds of N.G. Chernyshevsky and N.A. Dobrolyubov, modern authors continue it in relation to the entire classical heritage. Often in modern literature, the appeal to classical literature has a parodic character, both in relation to the author and in relation to the work (pastish). So, B. Akunin in the play "The Seagull" ironically beats the plot of Chekhov's play. (intertextemes)
At the same time, along with the execution attitude towards Russian literature and its heritage, attempts are being made to protect it. Of course, the classical heritage, inscribed in the chronological space between A. Pushkin and A. Chekhov, still remains the source from which modern literature draws images, plots, often playing with stable mythologems. Realist writers continue to develop the best traditions of Russian literature.
Writers are realists
The 1990s put realism to a serious test, encroaching on its dominant position, although realist traditions continue to be developed by Sergei Zalygin, Fazil Iskander, Alexander Solzhenitsyn, Viktor Astafiev, Valentin Rasputin, Vladimir Krupin, Vladimir Voinovich, Vladimir Makanin, Daniil Granin, A. Azolsky, B. Ekimov, V. Lichutin. The work of these writers developed under different conditions: some lived and worked in foreign countries (A. Solzhenitsyn, V. Voinovich, V. Aksyonov), while others lived without a break in Russia. Therefore, the analysis of their creativity is considered in different chapters of this work.
A special place in literature belongs to writers who turn to the spiritual and moral origins of the human soul. Among them are the works of V. Rasputin, belonging to the confessional literature, V. Astafiev, a writer endowed with the gift of addressing the most topical moments of our time.
The national-soil tradition of the 1960s and 70s, which is associated with the work of village writers V. Shukshin, V. Rasputin, V. Belov, continued in modern literature Vladimir Lichutin, Evgeny Popov, B. Ekimov.
However, writers - realists they are looking for ways to update poetics, trying to understand the diversity of relations between man and the world. Continuing and developing the traditions of great Russian literature, the writers of this trend explore the socio-psychological and moral problems of our time. They still continue to worry about such problems as the relationship between man and time, man and society. In a dysfunctional world, they are looking for the foundation that could withstand chaos. They do not deny the existence of the meaning of being, but raise the question of what reality is, what makes human life meaningful.
In literary criticism, the concept of “other prose”, “new wave”, “alternative literature” has appeared, which denotes the works of authors, whose works appeared in the early 80s, these writers, exposing the myth of a man - a transformer, the creator of his happiness, show, that man is a grain of sand thrown into the whirlpool of history.
The creators of the "other prose" depict the world of socially shifted characters, against the backdrop of rough and cruel reality, the idea is understood. Since the author's position is disguised, an illusion of transcendence is created. To a certain extent, it breaks the chain "author - reader". The works of "other prose" are gloomy, pessimistic. It distinguishes three currents: historical, natural and ironic avant-garde.
The natural trend "genetically" goes back to the genre of physiological essay with its frank and detailed depiction of the negative aspects of life, interest in the "bottom of society".
The artistic development of the world by writers often takes place under the slogan postmodernism: the world is chaos. These trends, characterized by the inclusion of the aesthetics of postmodernism, are denoted by the terms: "new realism", or "neorealism", "transmetarealism". Under the close attention of neorealist writers is the human soul, and the cross-cutting theme of Russian literature, the theme of the “little” person in their work acquires special significance, since it is complex and mysterious no less than the global changes of the era. Works are considered under the sign of new realism A. Varlamov, Ruslan Kireev, Mikhail Varfolomeev, Leonid Borodin, Boris Ekimov.
It is an indisputable fact that Russian literature has been noticeably enriched creative activity Russian writers. The works of Lyudmila Petrushevskaya, Lyudmila Ulitskaya, Marina Paley, Olga Slavnikova, Tatyana Tolstaya, Dina Rubina, V. Tokareva often find themselves in the zone of attraction to the traditions of Russian literature, and they noticeably influence the aesthetics of the Silver Age. In the works of women writers, a voice is heard in defense of eternal values, kindness, beauty, mercy is glorified. Each writer has her own handwriting, her own worldview. And the heroes of their works live in this world, full of tragic trials, often ugly world, but the light of faith in man and his imperishable essence resurrect traditions of great literature brings their works closer to the best examples of Russian literature.
Gogol's poetics, which reflected the grotesque-fantastic line, i.e. dual world, illuminated by the sun of Divine Providence, was continued in Russian literature of the XX century in the work of M.A. Bulgakov. successor mystical realism in modern literature, critics rightly consider Vladimir Orlov.
In the 80s, with the beginning of perestroika, the main principle of which was glasnost, and the warming of relations with the West, a stream of “returned literature” poured into literature, the most important part of which was foreign literature. The field of Russian literature has absorbed islands and continents of Russian literature scattered all over the world. Emigration of the first, second and third waves created such centers of Russian emigration as "Russian Berlin", "Russian Paris", "Russian Prague", "Russian America", "Russian East". These were writers who continued to work creatively away from their homeland.
The term Literature Abroad- this is a whole continent that domestic readers, critics, and literary critics had to master. First of all, it was necessary to resolve the issue of whether Russian literature and literature abroad are one or two literatures. That is, the literature of Abroad is a closed system or is it “a stream of all-Russian literature temporarily diverted to the side, which - the time will come - will merge into the general channel of this literature” (G.P. Struve).
The discussion on this issue on the pages of the journal "Foreign Literature" and in the "Literaturnaya Gazeta" revealed opposing points of view. Famous writer Sasha Sokolov believed that there was no system, but a number of divided writers. S. Dovlatov had a different opinion, who noted: “Russian literature is one and indivisible, since our literature remains one and indivisible. native language… Strictly speaking, each of us lives not in Moscow or New York, but in language and history.”
The Russian reader has access to the works of Russian writers whose works were published abroad. Starting with creativity V. Nabokov, A. Solzhenitsyn, B. Pasternak, the reader has the opportunity to get acquainted with the work of a whole galaxy of talented writers: V. Voinovich, S. Dovlatov, V. Aksenov, E Limonov. and others (chapter 4) Domestic literature was enriched by the return of "hidden literature" rejected by Soviet censorship. The novels of Platonov, the dystopia of E. Zamyatin, the novels of M. Bulgakov, B. Pasternak. "Doctor Zhivago", A. Akhmatova "Poem without a hero", "Requiem".
If in the 80-90s there was a development of this vast continent, called literature of the Russian Diaspora or "literature of the Russian diaspora" with its unique aesthetics, then in subsequent years (“zero years”) one can observe the influence of the literature of Abroad on the literature of the metropolis.
The full rehabilitation of the banned authors went hand in hand with the publication of their texts. This was most often underground literature. Such trends were reanimated that were outside the official literature and were considered underground, and they were published by Samizdat: these are postmodernism, surrealism, metarealism, sots art, conceptualism. This is the "Lianozovsky" circle ....
According to V. Erofeev, “the new Russian literature has doubted everything without exception: love, children, faith, church, culture, beauty, nobility, motherhood. Her skepticism is a double reaction to this Russian reality and the excessive moralism of Russian culture," therefore, the features of "saving cynicism" (Dovlatov) are visible in it.
Russian literature acquired self-sufficiency, freeing itself from the role of a constituent element of the Soviet ideology. On the one hand, the exhaustion of traditional types of artistry led to the rejection of such a principle as a reflection of reality; on the other hand, according to A. Nemzer, literature was of a “compensatory nature”, it was necessary to “catch up, return, eliminate gaps, fit into the world context”. The search for new forms corresponding to the new reality, the assimilation of the lessons of émigré writers, the assimilation of the experience of world literature has led domestic literature to postmodernism.
Postmodernism in Russian literature, he emerged from the literary underground as an already established aesthetic trend.
But by the end of the 1990s, the ongoing experiments in neo-liberal politics and neo-modernist ones in literature turned out to be virtually exhausted. Lost confidence in the Western market model, there was an alienation of the masses from politics, overflowing with colorful images, slogans that were not backed by real political power. Parallel to the emergence of multiple parties, there was a multiplication of literary groups and groups. Neoliberal experiments in politics and economics were matched by an interest in neomodernist experiments in literature.
Literary critics note that in the literary process, along with the activity of postmodernism, such trends as avant-garde and post-avant-garde, modern and surrealism, impressionism, neo-sentimentalism, metarealism, social art, and conceptualism are manifested. The rating of readers' interests put postmodern creativity in the first place.
The creator of postmodern poetics Vik. Erofeev wrote: Modern literature doubted everything without exception: love, children, faith, church, culture, beauty, nobility, motherhood, folk wisdom. Neo-modernist literature was oriented towards the West: towards the Slavites, towards grant-givers, towards Russian writers who had settled in the West, this to a certain extent contributed to the rejection of literature with texts - phantoms, texts - simulacra and that part of literature that tried to fit into a new context through performance activity ( D Prigov). (performance - performance)
Literature has ceased to be a mouthpiece of social ideas and an educator of human souls. Places of goodies were taken by murderers, alcoholics. etc. Stagnation turned into permissiveness, the teaching mission of literature was washed away by this wave.
In contemporary literature we can find pathology and violence, as evidenced by the titles of Wik's works. Erofeeva: "Life with an Idiot", "Confessions of Icrofol", "Suspended Orgasm of the Century". We find saving cynicism in the works of S. Dovlatov, virtuoso lawlessness in E. Limonov, "chernukha" in its various versions (Petrushevskaya, Valeria Narbikova, Nina Sadur).
skaz- a form of epic narration based on imitation of the speech manner of a character isolated from the author - the narrator; lexically, syntactically, intonationally oriented to oral speech.
Literature of the second millennium
The 1990s were "the consolation of philosophy," the "zero" years were "the consolation of literature."
According to a number of critics (Abdullayev), the “zero” are brewing somewhere in 98-99, and this is associated with such political events as the August 1998 crisis, the bombing of Belgrade, explosions in Moscow, which became the watershed that served as the beginning of “ neoconservative turn”, after which many events of subsequent generations can be considered.
The situation in the twenty-first century is characterized by the fact that in politics there is a transition from the neo-liberal model to the neo-conservative one. with building a "vertical of power", restoring Moscow's connection with the regions. In literature, there is a disappearance of new groups, currents, associations, blurring of boundaries between existing ones. The number of authors from the regions is increasing, which is explained by fatigue from the Moscow text, and on the other hand, by the emergence of new poetic forces in the hinterland that have escaped from the provincial ghetto. In literature, there is an increase in civic motives in poetry, “the politicization of the prose of the “zero” - with its military theme, dystopias, and “new realism” (Abdullaev.182).
The concept of the world in art generates new concept personality. Variety social behavior as indifference, behind which lies fear, where humanity is going. A common person, his fate and his "tragic sense of life" (de Unamuno) replaces the traditional hero. Together with the tragic into the sphere human life laughter enters. According to A.M. Zverev "in literature there was an expansion of the field of the ridiculous." The unprecedented rapprochement between the tragic and the comic is perceived as a spirit of the times.
For the novels of the "zero" character "the line of subjectization", the writer writes not from the point of view of the whole, but starts from the whole (Maria Remizova). According to Natalia Ivanova, in modern literature, "texts are replaced by a public position."
Genre forms
Modern literature is characterized by a surge in the development and interest of readers in the detective genre. Retro-plotted detective stories by B. Akunin, ironic detective stories by D. Dontsova, psychological detective stories by Marinina are an integral part of modern literature.
The many-valued reality resists the desire to embody it in a one-dimensional genre structure. The genre system preserves the "memory of the genre" and the will of the author is correlated with a wide range of possibilities. We can call transformations changes in the structure of the genre, when one or more elements of the genre mode turn out to be less stable.
As a result of the combination of several genre models, synthetic genres arise: a novel - a fairy tale ("The Squirrel" by A. Kim), a story-essay ("Watching the Secrets, or the Last Knight of the Rose" by L. Bezhin), a novel - a mystery ("Picking mushrooms to the music of Bach" A. Kim), novel - life ("Fool" by S. Vasilenko), novel - chronicle ("The Case of My Father" by K. Ikramov), novel - parable ("Father - Forest" by A. Kim).
Modern dramaturgy
In the second half of the 20th century, dramaturgy, which gravitates towards social problems, was replaced by dramaturgy, which tends to solve eternal, enduring truths. Pre-perestroika dramaturgy was called “post-vampilovskaya”, as the playwrights, through the testing of the hero by everyday life, signaled trouble in society. Dogs appeared whose heroes were people of the “bottom”. Topics that were previously closed for discussion were raised.
After perestroika, the themes of dramatic works changed. Conflicts have become tougher, more irreconcilable, they lack any morality. The composition is plotless and sometimes illogical; the lack of a logical connection between the compositional elements, and even absurdism. To express the new aesthetics, new language means were required. The language of modern dramaturgy has become more metaphorical, on the one hand, on the other hand, it gravitates towards the spoken language.
A whole stage in the development of dramaturgy is associated with creativity. L. Petrushevskaya (1938). As a playwright, she performed in the 70s. She was a member of the studio of the famous playwright A. Arbuzov. According to her confession, she began to write rather late, her artistic focus was the dramaturgy of A. Vampilov. Already in the 80s, her dramaturgy was called "post-Vampilian". He revives the traditions of critical romanticism in Russian dramaturgy, combining them with the traditions of play literature, using elements of the absurd. He is drawn to the genre of a skit, an anecdote.
Written in the early 80s, the play "Three Girls in Blue" became a cultural event. She is a paraphrase of Chekhov's play Three Sisters. The action takes place in the late 1970s at a dacha outside Moscow, which is rented by three second cousins. The dacha is dilapidated, without any malice, with cracks in the floor. Sisters quarrel, children get sick, and a mother lives in Moscow, who saws her daughters. In the center is the fate of Irina, who leaves her son Pavlik to his mother, and goes south with a married gentleman. And then endless trials fall on the heroine. The wife and daughter came to the groom, and he gives Irina a resignation. From Moscow, she receives news that her mother is ill with the most terrible disease. Irina has no money to leave the south, she does not want to ask her former lover. "Anxiety in the clean air of the resort" brings to mind Dostoevsky. Like his heroines, Irina went through the journey to repentance and purification.
Petrushevskaya questioned the inviolability of the foundations, which were declared as universally recognized and it seemed that life rests on their inviolability. Petrushevskaya shows her heroes as people forced to deal with difficult issues related to survival. Often her heroes exist in a dysfunctional social environment. And the heroes themselves are subject to strange, unmotivated actions, and they commit their misdeeds as if in unconsciousness, obeying internal impulses. The hero of the play Date (1992) is a young man who, in a fit of rage, killed five people. Punishment follows from the outside: he was put in prison, but in the play there is neither self-punishment nor self-condemnation. She creates one-act plays What to Do? (1993), Twenty-Five Again (1993), Men's Zone (1994).
In the play "Men's Zone" Petrushevskaya unfolds the metaphor of the zone, which appears as a camp zone, that is, isolation from the whole world, where there can be no freedom. Hitler and Einstein are here, Beethoven is here. But it is not real people, and the images famous people that exist as stereotypes of mass consciousness. All images of famous characters correlate with Shakespeare's tragedy "Romeo and Juliet", a performance in which the characters will take part. Moreover, even female roles are played by men, which gives the play a comic effect.
Dramaturgy Alexandra Galina (1937) gravitates towards a philosophical understanding of life and is filled with reflections on the place of man in this world. His artistic manner is far from a harsh assessment of a person. Galin is the author of the plays "Wall", "Hole", "Stars in the Morning Sky", "Tamada", "Czech Photo". The author does not denounce, but rather sympathizes with the heroes living in a world where love, happiness, success cannot take place. For example, in the play "The Czech Photo" not only the author's compassion is aroused by the hero - the loser Lev Zudin, who spent his youth in prison for publishing a bold photograph in a magazine. He believes that not everything in life is a lie, "for the sake of something we live." A. Galin is far from condemning the successful photographer Pavel Razdorsky, who, frightened of the responsibility for the published bold photo of the actress, fled from Saratov to Moscow. The name "Czech Photo" is not only the name of the magazine, in which a bold photo of the actress Svetlana Kushakova was published at that time, but also a symbol of youth, friendship, love, professional success and defeat.
Dramatic works Nina Sadur (1950) imbued with a “not gloomy, but rather tragic” worldview” (A. Solntseva). A student of the famous Russian playwright Viktor Rozov, she entered dramaturgy in 1982 with the play “Wonderful Woman”, later she wrote the song “Pannochka”, in which the plot of the story “Viy is interpreted in her own way.
Artworks Nikolai Vladimirovich Kolyada (1957) excite
theater world. The reason, according to N. Kolyada N. Leiderman, a researcher of creativity, is that "the playwright tries to get to the bottom of those conflicts that shake this world." He is the author of such plays as "Murlin Murlo", "Slingshot", "Sherochka with a Masherochka", "Oginsky's Polonaise", "Persian Lilac", "Ship of Fools".
In a play "Boater"(1992) the author again refers to the conflict between generations, but his view is far from traditional. If close people love, respect, there is mutual understanding between them, then any contradictions can be overcome. The playwright returns to the original meaning of the word "generation". Generations are the tribes of the human race, the joints of a single whole, growing out of each other, passing the baton of life”. It is no coincidence that the theme of death occupies a significant place in the play. Death is everywhere. It's very difficult to deal with it." And this war can be won only by uniting father and son. Therefore, the words of B. Okudzhava "let's join hands, friends, so as not to disappear one by one." Victor, the stepfather of eighteen-year-old Alexander, the son of his ex-wife, he is from a generation of idealists, he is a connoisseur good books, performances. For him, the blessings of life never became the determining factor in his life. Alexander rebels against the generation of his fathers and accuses them of obedience, of being ready to accept any lie and deceit. “Thieves. Demagogues. You can't breathe because of you. You have turned the world into hell." For Victor, it is not the accusations of Alexander that are important, but his state of mind. Guilt gives rise to anxiety for the young man, and the wall of alienation begins to crumble. Mutual understanding begins to be established between the stepfather and the embittered young man. And it turns out that they are spiritually kindred people. The author raises the question of which relationship is more important. Alexander from his own mother returns to the house, where he found a person internally close to him.
Plays Evgeny Grishkovets (1967) called "provocative". In his plays, the characters speak the language that burns those who come to the theater. They are filled with humour. For the play "How I Ate a Dog" he received two theater awards.
Thus, modern dramaturgy creates new models of the artistic depiction of reality, excluding any morality and is looking for new means to depict the complex contradictory world and the person in it.
Modern essay writing
Genre essay(French. attempt, trial, experience, essay), so called prose work small volume, free composition, expressing individual impressions and considerations on any occasion. The thoughts expressed do not claim to be an exhaustive interpretation. This is one of the genres of literature that has been developing for more than four hundred years. The beginning of this genre was laid by the French humanist philosopher Michel Montaigne, although the origins of the genre are already seen in ancient and medieval texts, for example, Plato's Dialogues, Plutarch's Morals. Samples of the essayistic style can be found in Russian literature, for example, “Philosophical Letters of P.Ya. Chaadaeva, F.M. Dostoevsky's Diary of a Writer.
In the 20th century, essay writing goes beyond the boundaries of one genre, capturing all kinds and genres of literature, attracting different writers; A. Sozhenitsyn, V. Pietsukh, P. Weil addressed her. and etc.
Essayistics still denotes an experience based on a person's ability to introspection. Characteristic features essays are the freedom of composition, which is a montage of various material, built by association. Historical events may be presented in disorder, descriptions may include general reasoning, they are subjective assessments and facts of personal life experience. This construction reflects the freedom of mental drawing. The boundary between essayism and other genres is blurred. M. Epstein noted: “This genre, which is held by its principled out-of-genre. As soon as he gains complete frankness, sincerity of intimate outpourings, he turns into a confession or a diary. It is worth getting carried away by the logic of reasoning, the process of generating thoughts - we have an article or a treatise in front of us, it is worth falling into a narrative manner, depicting events that develop according to the laws of the plot - and a short story, a story, a story involuntarily arises ”[Epshtein M. God of details: Essays 1977-1988. - M: Edition of R. Elinin, 1998.- C 23].
The creator of the modern literary language is Alexander Pushkin, whose works are considered the pinnacle of Russian literature. This thesis remains dominant, despite the significant changes that have taken place in the language over the almost two hundred years that have passed since the creation of his largest works, and the obvious stylistic differences between the language of Pushkin and contemporary writers. Meanwhile, the poet himself points to the paramount role of N. M. Karamzin in the formation of the Russian literary language, according to A. S. Pushkin, this glorious historian and writer “liberated the language from an alien yoke and returned its freedom, turning it to the living sources of the folk words".
Literary language is a form of existence of a national language, which is characterized by such features as normativity, codification, polyfunctionality, stylistic differentiation, high social prestige among native speakers of a given national language. The literary language is the main means of serving the communicative needs of society; it is opposed to non-codified subsystems of the national language - territorial dialects, urban koine (urban vernacular), professional and social jargons.
The concept of a literary language can be defined both on the basis of the linguistic properties inherent in a given subsystem of the national language, and by delimiting the totality of carriers of this subsystem, separating it from the general composition of people who speak given language. The first way of definition is linguistic, the second is sociological.
Properties of literary language:
Consistent normalization (not only the presence of a single norm, but also its conscious cultivation);
The obligatory nature of its norms for all speakers of a given literary language;
Communicatively expedient use of means (it follows from the tendency to their functional differentiation)
Consistent functional differentiation of means and the associated permanent trend towards a functional differentiation of options;
Polyfunctionality: the literary language is able to serve the communicative needs of any field of activity;
Stability and well-known conservatism of the literary language, its slow changeability: the literary norm must lag behind the development of lively speech
Trends:
Rapprochement of the lit language with the folk
The interaction of the styles of the lit language (especially important: the influence of the colloquial style on the literary one)
The desire to save language means in speech (as Chekhov bequeathed to us, brevity is the sister of talent)
The desire for uniformity and simplification of individual forms and designs
Strengthening analytical elements in the language system (such as “beige bag” instead of “beige bag”, “three-meter-high building” instead of “three-meter building”, etc.)
(According to V.I. Chernyshev) source of stylistic norms must be:
Common modern usage
Works of exemplary Russian writers
The best grammars and grammar studies of literary Russian language
(According to Rosenthal ) source of norms may also be :
Survey data of native speakers (specially representative of different generations)
Questionnaire data
Comparison of similar linguistic phenomena among classic writers and contemporary writers (in works of the same genre)
Traditionally, the Russian language has been modern since the time of A. S. Pushkin. Modern Russian is one of richest languages peace. It is necessary to distinguish between the concepts of the Russian national language and the literary Russian language. The national language is the language of the Russian people, it covers all spheres of speech activity of people. In contrast, literary language is a narrower concept. Literary language is the highest form of language existence, exemplary language. This is a strictly standardized form of the national national language, which is perceived as a reference. The signs are: processing, normalization, universally binding norms and their codification, the presence of a written form, widespread and universally binding, the development of a functional and stylistic system
Lomonosov's theory of three calms: High (tragedy, ode), Medium (elegy, drama, satire), Low (comedy, fable, songs). High calm borrowed from the ancient Russian language
938 - the creation of Cyrillic by Cyril and Methodius in Thessaloniki for the southern Slavs, the eastern ones borrowed it.
Pushkin first mixed East Slavic and southern languages. - The emergence of diglossia (bilingualism)
Modern language V narrow sense- the language of the late twentieth century, the language of the present. In a broad sense, the language of the era from Pushkin to the present day, mainly written. We understand the language of this period without the obligatory involvement of additional means - dictionaries, etc.
The literary language is constantly transforming, the main forces of this process are all native speakers.
When characterizing the literary language of the twentieth century, two chronological periods should be distinguished:
The first - from October 1917 to April 1985;
The second - from April 1985 to the present.
The second stage is the period of perestroika and post-perestroika. At this time, branches of the functioning of the language, still carefully hidden by censorship, become obvious and tangible. Thanks to glasnost, jargon (fraternization, rollback, shmon, presentation), borrowing (dealer, realtor, manager) and obscene language came to light. In addition to new words, many words that seemed to have gone out of use forever were brought back to life (gymnasium, lyceum, guild, governess, department, etc.).
At the turn of the 20th and 21st centuries, the democratization of the language reached such proportions that it would be more correct to call this process liberalization, or, more precisely, vulgarization. On the pages of the periodical press, jargon, colloquial elements and other non-literary means (grandmothers, piece, piece, steward, launder, unfasten, scroll, etc.) poured into the speech of educated people. Even in official speech, the words get-together, disassembly, get along became common.
Obscene language has become unacceptably common. Advocates of such an expressive means even argue that swearing is a hallmark of the Russian people, its "brand name".
However, we should not forget that the Russian literary language is our wealth, our heritage, it embodied the cultural and historical traditions of the people, and we are responsible for its condition, for its fate.
Communicative qualities of speech.
The communicative qualities of speech are a set of properties of the words and expressions we utter, which make communication effective, understandable from all sides, more harmonious and enjoyable. They are as follows: expressiveness, purity, consistency, correctness, accuracy, richness, accessibility, relevance, clarity, effectiveness. A harmonious combination of these ten properties allows us to talk about a perfect culture of communication. The communicative qualities of speech began to be studied in the 18th century. In all educational institutions At that time, rhetoric existed, being, by the way, one of the seven main sciences.
Characteristics of the communicative qualities of speech
2. Expressiveness. This means that everyone should understand what he is talking about, and also he should not be indifferent to his words. If the speech is built in an artistic style, then properly selected metaphors, comparisons, and others will give expressiveness. artistic means. Expressiveness in a journalistic style will be given by questions, exclamations (however, you should not overload your speech with these communicative qualities), pauses. In a scientific or official business style, oral emphasis on the main words, raising and lowering the tone, and pauses give expressiveness.
3. Logic. This property characterizes the correct and understandable presentation of thought and the construction of the text, that is, speech must obey the basic methods of logic - induction, deduction, analysis, synthesis, etc.
4. Correctness. It represents the correspondence of what we say to the generally accepted norms of the literary language. If we consider all the communicative qualities of speech, this property will be one of the main
5. Accuracy. This is, first of all, the correct presentation of the meaning of the text, the absence of "water". Accuracy is also determined by the degree of understanding by the speaker of what he is speaking about, by the correct use of the conceptual apparatus.
6. Wealth. Quality is characterized by wealth vocabulary speaker, as well as the variety of language means that he uses to express thoughts.
7. Availability. This is the ability of the speaker to correctly and accurately convey all the information to the audience, as well as his attitude towards it. Everything that the basic qualities of speech are said to people should be clear to them.
8. Relevance. Speech should correspond to a specific situation, always be “out of place” and correspond to the necessary stylistic coloring.
9. Clarity. It characterizes the presence in what was said of the necessary clarifications, if this is required by the context or a specific situation.
10. Effectiveness. This quality is characterized by the relevance of speech (the quality is more applicable to the journalistic, scientific style of speech), the ability to reflect reality. These basic qualities of speech can be presented in the literature in a different quantity, depending on the author or the time of writing.
The concept of style
Stylistics - ("stylo", "stylus" - a stick with which they wrote on wax tablets). A small digression into history: stylistics as an independent science arose in the 50s, “singled out” from rhetoric, on the basis of verbal expression. Over time, the concept of style expanded. At first it was the science of expressive means (tropes and figures), then - about functional styles. Now we understand style as the science of the functioning of language and speech.
The young section of linguistics, the turn of the 19th-20th centuries, connection with fr. Stylistics (Charles Balli).
The first stylists grew up - Vinogradov, Shcherbin, Potebnya.
Stylistics- section of linguistics, in the cat. the system of styles of a particular language is studied, the norms and methods of using the literary language in various conditions of the language are described. communication, in various types and genres of writing, in various spheres of public life.
S. Bally (fr). The style is:
1) general, exploring the general stylistic problems of speech activity relating to all or most languages,
2) private, studying the stylistic structure of a particular national language, and
3) individual, considering the expressive features of the speech of individual individuals.
Vinogradov:
1. “Language stylistics studies the stylistic structure of the language as a “system of systems”, functional language styles, stylistic. Wed language means, regardless of the specific conditions of their use "
Speech is a specific implementation of language in a given specific situation.
2. “The style of speech analyzes the features of the functioning of language media in the specific conditions of their use associated with certain genres, forms, types of oral and writing(discussion speech, lecture, report, press conference, conversation; newspaper editorial, scientific review, humorous story, welcome address, etc.)”
3. "The stylistics of the art literature has all the elements of the style of the art work, the style of the writer, the style of the whole literature as the subject of its study"
Stylistics is the science of language that studies the theory of language styles, lexical and grammatical synonymy, expressive and visual possibilities of language means. Stylistics studies the language in dynamics ("the queen of the language"). Explores shades of meaning. It is necessary to have a linguistic flair (stylistics is practically inaccessible for foreigners). The problem of choice is the main problem of style.
There is, but is not a completely generally accepted division of stylistics into literary and linguistic (see below). Linguistics examines the functional styles of speech, literary criticism studies the system of images, plot, plot, etc. in a separate work.
Aspects of style:
1. Expressive means of the language and their resources (language capabilities) - 1st aspect of stylistics.
2nd aspect - the definition of style. extralinguistic factor. (selection of language means in accordance with the situation in which a person finds himself) is a non-philological factor.
3. The quality of speech (accuracy and correctness) is the third important aspect of stylistics.
Speech should be literate, accurate, literary and, if possible, figurative. For style, it is not what is said, but how it is said.
Style areas:
Practical style - regularity, expediency, appropriateness of use grammar basics, turns, etc.
Stylistics of language resources - deals with synonymy
Stylistics fiction- individual styles of writers, historical development language styles.
Decoding style - there are various possibilities for interpreting the author's intentions.
Stylistics of the text - patterns of construction and functioning of the text (compositional construction)
Phonosylistics - deals with human associations with the use of a particular sound
2. The subject and tasks of practical stylistics
Subject Stylistics is a language in the broadest sense of the word (including speech as a form of language beings), but from other areas of linguistics.
Stylistics explores ways of expressing complement (stylistic) info that accompanies the main subject content of speech. In this regard, one of the main objects style the synonymic system is recognized. Wed-in and the possibilities of the language at all its levels.
concept norms very important for the lit language. In practical stylistics, the norm is the set of the most suitable (correct, preferred) for serving the general public in the language, which is formed as a result of the selection of linguistic elements (lexical, pronunciation, morphological, syntactic) from among the existing ones.
Practical style is close to the culture of speech.
1) general information about language styles
2) assessment of expressive-emotional. language means coloring
3) synonymy of language means
The central place in stylistics is given to the problems of synonymy. In this problem, for practical stylistics, it is important:
1) in the language, as it is correct, there are no absolute synonyms
2) synonymous variants should not go beyond the literary norm
3) it is permissible to compare synonyms in the conditions of their simultaneous existence and in the conditions of their evolutionary development
For practical style, it is also important to use lexical and grammatical means of the language. Less attention to phonetics and word formation, more attention to grammatical syntax.
Figurative means of language (tropes and figures) - the style of fiction.
The tasks of stylistics: 1) the definition of stylist. norms for the use of the language, the definition of patterns in accordance with which the language. media are organized into a system. 2) classification and description of the media and techniques included in the language system. 3) identification of patterns of interaction between the stylist. norms of the language and the objective system of the language.
Functional styles are the central problem and the main subject of stylistics.
Among the issues addressed by practical stylistics are issues related to the correctness and normativeness of speech.
The richest synonymy of the means of the Russian literary language on all the “tiers” of its system raises the question of the criteria for the optimal choice of options needed in a particular situation (in particular, the normative nature of these options today) before practical stylistics.
The main trends in the development of the modern Russian literary language
The creator of the modern literary language is Alexander Pushkin, whose works are considered the pinnacle of Russian literature. This thesis remains dominant, despite the significant changes that have taken place in the language over the almost two hundred years that have passed since the creation of his major works, and the obvious stylistic differences between the language of Pushkin and modern writers. Meanwhile, the poet himself points to the paramount role of N. M. Karamzin in the formation of the Russian literary language, according to A. S. Pushkin, this glorious historian and writer “liberated the language from an alien yoke and returned its freedom, turning it to the living sources of the folk words".
Literary language is a form of existence of a national language, which is characterized by such features as normativity, codification, polyfunctionality, stylistic differentiation, high social prestige among native speakers of a given national language. The literary language is the main means of serving the communicative needs of society; it is opposed to non-codified subsystems of the national language - territorial dialects, urban koine (urban vernacular), professional and social jargons.
The concept of a literary language can be defined both on the basis of the linguistic properties inherent in a given subsystem of the national language, and by delimiting the totality of carriers of this subsystem, separating it from the general composition of people who speak this language. The first way of definition is linguistic, the second is sociological.
Properties of literary language:
1. consistent normalization (not only the presence of a single norm, but also its conscious cultivation);
2. the general obligatory nature of its norms for all speakers of a given literary language;
3. communicatively expedient use of means (it follows from the tendency to their functional differentiation)
4. Consistent functional differentiation of means and the associated permanent trend towards a functional differentiation of options;
5. polyfunctionality: the literary language is able to serve the communicative needs of any field of activity;
6. stability and well-known conservatism of the literary language, its slow changeability: the literary norm must lag behind the development of live speech
The literary language, as a rule, is divided into two functional varieties: book-written and colloquial. Book language is an achievement and heritage of culture. It is the main carrier and transmitter of cultural information. All types of indirect, distant communication are carried out by means of the book language. Modern literary language is a powerful means of communication. Unlike another variety - the colloquial literary language (and even more so unlike such subsystems of the national language as dialects and vernacular), it is multifunctional: it is suitable for use in various areas of communication, for various purposes and for expressing the most diverse content. The colloquial variety of the literary language is an independent and self-sufficient system within common system literary language, with its own set of units and rules for their combination with each other, used by native speakers of the literary language in conditions of direct, not pre-prepared communication in informal relations between speakers.
Trends:
1) convergence of the litas of the language with the folk
2) the interaction of the styles of the literary language (especially important: the influence of the colloquial style on the literary one)
3) the desire to save language means in speech (as Chekhov bequeathed to us, brevity is the sister of talent)
4) the desire for uniformity and simplification of individual forms and designs
5) strengthening of analytical elements in the language system (such as “beige bag” instead of “beige bag”, “three-meter-high building” instead of “three-meter building”, etc.)
(According to V.I. Chernyshev) source of stylistic norms must be:
1) common modern usage
2) works of exemplary Russian writers
3) the best grammars and grammatical studies of literary Russian language
(According to Rosenthal ) source of norms may also be :
1) data from a survey of native speakers (specially representing different generations)
2) questionnaire data
3) comparison of similar linguistic phenomena among classic writers and contemporary writers (in works of the same genre)
